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Architektura i sztuka we współczesnej rzeczywistości szkoły podstawowej

Author(s): Agnieszka Chęć-Małyszek,Grzegorz Dobiesław Mazurek / Language(s): Polish Issue: 4/2024

Proces nauczania w szkole podstawowej jest ważnym elementem kształtującym osobowość młodego człowieka, gdzie przez ciekawość dostarczona zostaje mu wiedza, wrażenia zmysłowe i estetyczne. Edukacja plastyczna odgrywa istotną rolę w procesie rozwijania wyobraźni, kreatywności i zdolności manualnych. Podręczniki do nauki plastyki są kluczowym narzędziem w nauczaniu sztuki i architektury. Celem artykułu jest analiza podręczników do nauki plastyki wydanych w ostatnich 5 latach dla szkół podstawowych zatwierdzonych przez MEN. Przeanalizowano treść oraz zamieszczony materiał ilustracyjny z czterech dostępnych wydawnictw. Zebrane informacje zestawiono z tym co znane, popularne i chętnie odwiedzane przez turystów na całym świecie. W artykule zwrócono uwagę na obiekty architektury sakralnej, uznając je za wartościowe dziedzictwo kulturowe. Analiza podręczników do nauki plastyki wykazała, że zamieszczone ilustracje oraz informacje w poszczególnych wydawnictwach są dość mocno zróżnicowane, choć poruszane są te same zagadnienia plastyczne. Treść podręczników powinna być spójna, poparta znanymi przykładami będącymi charakterystycznymi ikonami pewnych nurtów w sztuce i architekturze. Zadaniem powinno być zwrócenie uwagi młodego człowiek na kulturowe, społeczne, technologiczne, ekonomiczne i ekologiczne znaczenia sztuki i architektury. Powinny uczyć świadomej percepcji, selektywnego i krytycznego wyboru, jak również dystansu do samego siebie. Znaczenie edukacji plastycznej jest istotne, gdyż pełni rolę integrującą wobec innych dziedzin.

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Zrcadlo masopustu – barokní lidová hra

Author(s): František Všetička / Language(s): Czech Issue: 2/2024

Zrcadlo masopustu je lidová hra z roku 1690. Pochází z Tábora a má ráz barokní morality. Je opatřena synoptickým titulem a vystavěna na architektonickém rytmu. Součástí rytmu je středové dějství, prostoupené architektonickou korespondencí. Děj hry doprovází místy hudební projev. Na jejím závěru se výrazně podílí finální explicit. Drama autor architektonicky zarámoval a do vstupního dějství vložil závažnou onirickou scénu.

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Muzyka generowana przez sztuczną inteligencję – ocena przedstawicieli Pokolenia Z

Author(s): Mateusz Kowalski / Language(s): Polish Issue: 1/2024

Utwory opracowywane z użyciem sztucznej inteligencji budzą liczne kontrowersje, zarówno pod względem etycznym, jak i prawnym. Celem artykułu jest próba określenia, jaki odsetek respondentów miał styczność z muzyką wygenerowaną przez AI, która ma naśladować twórczość znanych artystów, oraz jakie budzi ona skojarzenia. Część empiryczna artykułu stanowi prezentację wyników badania, które zostało przeprowadzone na próbie 118 osób. Zgodnie z uzyskanymi danymi, 83,9% ankietowanych było świadomych istnienia utworów skomponowanych przez sztuczną inteligencję, które miały naśladować twórczość znanych artystów. Oceny muzyki generowanej przez sztuczną inteligencję różniły się znacząco wśród uczestników badania. Wielu z nich określiło ją jako dziwną, niepokojącą i nieetyczną. Niemniej jednak pojawiły się opinie wskazujące na jej ciekawość i przyszłościowy potencjał.

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Interpersonal Semiotics of Music after Several Decades

Author(s): Jarmila Doubravová / Language(s): English Issue: 12S/2024

Interpersonal semiotics of music belongs to the sphere of musical anthropology. It is based on introspection and experiments with different types of music and different groups of respondents. Its theoretical principle represents the theory of small social group and system of interpersonal tendencies by Knobloch and Knoblochová (1999). This is used in relation of I/Other in which ‘Other‘ means music. Some works of B. Bartók, A. Berg, L. Janáček, B. Martinů, J. Sibelius, I. Stravinsky and J. Suk were analysed and described, among others, on this ground, i.e. from the point view of my interpersonal testimony. The interpersonal analyses of Czech music of the 1950s by several groups of respondents confirmed that such testimonies are distinguishable. The presented survey represents results of long work as part of my diverse semiotic and aesthetic activities.

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On Subjectivity and Objectivity in the Semiotic Inquiry of Music

Author(s): Juha Ojala / Language(s): English Issue: 12S/2024

This article juxtaposes the subjective and the objective in the study of musical signification. It makes an attempt at a vicious core problem of notions that are general in their essence and prevalence. The interest is driven by general trends challenging the position of research in music, semiotics, and humanities. The problem persists, for instance, in Western art music (WAM), where the performer has the task of assessing the composer’s objectives and mediating them, but with a subjective interpretation, for the breadth of the audience to experience.The gist is that the juxtaposition is a false dichotomy, resolving to moderation, as the absolute objectiveness is mollified by fallibility of inquiry and the absolute subjectiveness by the shared embodied experience of the world. This is elaborated based on classical and current pragmatist conceptions of inquiry, semiosis, embodiment, hard and soft facts, and cognitive metaphors, addressing the body-mind and the body-social problem.

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Balzac’s Views on Meaning of Music and in Music

Author(s): Małgorzata Gamrat / Language(s): English Issue: 12S/2024

This paper aims to demonstrate how music and its signification have been interpreted in literary works. Two texts by Balzac will be used as examples. They interpret meaning in music and present the mechanisms by which individual significance becomes attached to musical works. In the novel La Duchesse de Langeais, the author carefully reconstructs the process of connections arising between music, emotions, and memories, which turns a musical work into a memory sign in the minds and lives of individuals. In the short story Massimilla Doni Balzac analyses the score of Rossini’s Mosè in Egitto (1818)—elements such as instrument and musical key symbolism as well as the music’s impact on listeners. Both literary works present music as an aspect of human communication, consisting of signs, symbols, and codes that support verbal senses or operate beyond the limits of what words can convey.This paper aims to demonstrate how music and its signification have been interpreted in literary works. Two texts by Balzac will be used as examples. They interpret meaning in music and present the mechanisms by which individual significance becomes attached to musical works. In the novel La Duchesse de Langeais, the author carefully reconstructs the process of connections arising between music, emotions, and memories, which turns a musical work into a memory sign in the minds and lives of individuals. In the short story Massimilla Doni Balzac analyses the score of Rossini’s Mosè in Egitto (1818)—elements such as instrument and musical key symbolism as well as the music’s impact on listeners. Both literary works present music as an aspect of human communication, consisting of signs, symbols, and codes that support verbal senses or operate beyond the limits of what words can convey.This paper aims to demonstrate how music and its signification have been interpreted in literary works. Two texts by Balzac will be used as examples. They interpret meaning in music and present the mechanisms by which individual significance becomes attached to musical works. In the novel La Duchesse de Langeais, the author carefully reconstructs the process of connections arising between music, emotions, and memories, which turns a musical work into a memory sign in the minds and lives of individuals. In the short story Massimilla Doni Balzac analyses the score of Rossini’s Mosè in Egitto (1818)—elements such as instrument and musical key symbolism as well as the music’s impact on listeners. Both literary works present music as an aspect of human communication, consisting of signs, symbols, and codes that support verbal senses or operate beyond the limits of what words can convey.

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Krzysztof Penderecki: An Existential Semiotic Study of His Sonoristic Works and Cello and Orchestra Concerto No. 2

Author(s): Eero Tarasti / Language(s): English Issue: 12S/2024

This paper presents the first application of semiotic theories by Eero Tarasti—and particularly of the so-called existential semiotics—to the music by the avant-garde composer Krzysztof Penderecki. Using the zemic analysis of four works: Threnody to the Victims of Hiroshima, Anaklasis, Fluorescences and Cello Concerto No. 2, the author shows the connection of music—albeit it be as ‘absolute’ as ever—to a certain fundamental semantics, which is present and imprinted in everything what the human mind invents and produces. Yet, the meanings which emerge here like by themselves and organically without any reference to the world of Dasein are in constant flow and alternating, causing the constant variability of the weighs and underlinings of the four elements of the zemic. Even in such an abstract music like sonorism one can find elements of zemic and log-zemic.

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Област на компетентност музика и игра в начален етап на обучение. Проблематизация в педагогическата практика на студентите по музика.

Author(s): Tsvetanka Kostadinova Kolovska / Language(s): Bulgarian Issue: 1/2021

The contemporary music education reflects the new ideas for the functioning of music art. It is a factor which not only plays an important part in the process of art education, cultural and personal self-recognition, but is a powerful means for protecting the rising generation from spiritual destruction by uniting them with the values, communication rules and manners, acknowledged by society.

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За премиерата на „Ба-та-клан“ от Жак Офенбах в десетата, юбилейна година на Академичен оперен театър (АОТ) при АМТИИ „Проф. Асен Диамандиев“ - гр. Пловдив

Author(s): Ivaylo Mihaylov / Language(s): Bulgarian Issue: 1/2021

This scientific work is inspired by a current event – the premiere for Bulgaria of „Ba-ta-clan“ – an operetta by Jacques Offenbach, performed by the Academic Opera Theater (AOT) at AMTII „Prof. Asen Diamandiev“ – Plovdiv (12.10.2020). The author, initiator and director of the production, analyzes the prehistory, preparation and realization. Factology related to the history of AOT, the work of Offenbach, the work of the production team is covered. It is important the place of the analysis of the media response to the event, which is indicative of the prestige of AOT at AMTII „Prof. Asen Diamandiev“ – Plovdiv.

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Възникване и развитие на пекинската опера

Author(s): Wang Ye / Language(s): Bulgarian Issue: 1/2021

Peking Opera originates from Chinese opera and was created and developed through the continuous synthesis and clash of different types of Chinese opera. The article presents historical facts, events and analysis related to the origin and development of Peking Opera, since the end of the 18th century to the present day. The article discusses the contributions of different periods, genres and even cities (in the case of Shanghai) to the distinction of the Peking Opera, its aesthetics, integrity and personalization, focus on performance and openness and compatibility with individual performers.

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Автентичният пазарджишки фолклор, сътворен в две от песните из творчеството на композитора Милчо Василев

Author(s): Yonka Peycheva / Language(s): Bulgarian Issue: 1/2021

This summary is closely related to the main topic of my dissertation, namely: „Pazardjik folklore in the works of composers: Stefan Mutafchiev and Milcho Vasilev.“As a basis for my publication I have focused on two songs for solo voice accompanied by an orchestra of folk instruments arranged by Milcho Vasilev. They are a vivid example of the character and specific features of Pazardjik two-part authentic songs. With this in mind, the author of the arrangements did not change the two voices, but on the contrary, harmonizing the songs, he fully complied with them. In the course of my research, I found other features in these two-part songs. This gives me some reason to believe that the Pazardjik folklore area could be considered as an independent folklore area.

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Приносът на проф. Кирил Дженев в националната хореография. Пример с един танц от късното творчество на автора.

Author(s): Boris Genchev / Language(s): Bulgarian Issue: 1/2021

The present article examines an example of the dance work of Prof. Kiril Dzhenev from his third creative period. As a product of his late work, this dance, as well as others from this period, reveal the innovations, approaches and differences in the presentation of certain dance content. In the exhibition I shall try to answer the question why Kiril Dzhenev‘s dance work has become a model in the national choreography and what makes his works sustainable in the repertoire of the Plovdiv folk ensemble“Trakia“ (created by him). With the help of a detailed analysis of „Festive Thracian Dance“ the matters of artistic mastery and the successful application of innovation in the stage realization of Dzhenev‘s dance projects will be considered.

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The marriage of modes: Singable opera translation

Author(s): Karen Wilson-deRoze / Language(s): English Issue: 15/2024

Despite the increase in scholarly articles and publications that focus on singable translations of vocal music texts, few tackle the relationships and interplay between the two main semiotic systems of words and music, nor how they may or may not be preserved in translation. The translator’s understanding of how meaning arises across semiotic resources, especially between music and words, is equally as important a criterion for decision making when translating a vocal music text as sense, naturalness, singability, rhythm and rhyme and deserves as much attention as any staging demands or the diverse requirements of cultural transfer. By means of demonstration, using examples from a translation of Mozart’s “Le nozze di Figaro” by Jeremy Sams, this study explores an approach to singable opera translation that focuses on the stylistic decisions of the composer when marrying verbal and non-verbal semiotic modes and how the translator preserves or alters their relationship, which in turn may affect their interpretation, especially by singers.

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Translating the songs of the “Sirens” in James Joyce’s Ulysses

Author(s): Arianna Autieri,Lauri A. Niskanen / Language(s): English Issue: 15/2024

Song lyrics function in James Joyce’s “Ulysses” like any other literary and cultural allusion. However, in the musical episode of “Ulysses”, “Sirens”, lyrics may function as music as well. In the episode, where songs are performed by characters and, de facto, by the narrative itself, musical allusions are evoked in the readers’ mind, enriching their experience of the episode. The following question may arise then: how can the Sirens’ songs be translated for a target reader who is not familiar with the music or words of the songs mentioned? Addressing foundational word and music studies research and recent research on the translation of musical texts, this article investigates how lyrics alluded to in “Sirens” perform a musical role in the episode. Through the study of the Italian and Finnish (re)translations of the episode, it examines the creative options for translators of song lyrics in musico-literary texts.

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Интермедијална црна проза. O приповедању Живојина Павловића

Author(s): Jovana Ivetić / Language(s): Serbian Issue: 182/2024

Review of: Уметност Живојина Павловића. Приче, светови, медији. Ур. Бојан Јовић и Невена Даковић. Београд: Институт за књижевност и уметност, 2022, 346 стр.

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Utilising Genograms as a Visual Diagnostic Tool to Explore Trauma within Agata Tuszyńska’s Family

Author(s): Aldona Kiełpińska / Language(s): English Issue: 12/2024

The burden to continue the war narrative falls on the so-called second generation, i.e. persons who, despite being born after World War II, are equally burdened by the memory of their mothers’ traumatic experiences. Existing research in psychology and the social sciences, as well as the genogram theory formulated by American researchers, proves helpful in expanding knowledge and structuring information on the phenomenon of trauma and its inheritance. The tools thus obtained enable reinterpretation of the texts by A. Tuszyńska, whose experience of the war, although not direct, largely shaped her identity and had a destructive impact on development and assimilation in the new, post-war reality.

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СПЕЦИФИЧНО КОНСТРУКТИВНО РЕШЕЊЕ БРВНАРЕ ИЗ ЈУГОЗАПАДНЕ СРБИЈЕ

Author(s): Duško Kuzović / Language(s): Serbian Issue: 189/2024

The Dinaric log cabin was the dominant form of residential house in the Dinaric mountains region in the Balkans. In the valley of the Uvac River, in southwest Serbia, a structural solution with preserved cornice was recorded, which differs significantly from the solution of the Dinaric log cabin. It is characterized by a gable roof (instead of a four-gable one), and the beam on the ridge rests on a specially built structure consisting of a console and a rod. This solution indicates that there was an exchange of construction solutions in the Balkans and Europe, that they were transferred by builders, travellers or settlers. A similar construction solution is applied in Austria, Switzerland and Russia.

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Cultural Therapy and Concern for the Archive. The Case of Documentary Video Ar-chives by Tomáš Rafa

Author(s): Daniel Grúň / Language(s): English Issue: 34/2024

In this paper, the author explores current perspectives on contemporary art projects through the concept of the archive. By applying a theoretical framework termed “concern for the ar-chive”, the author aims to elucidate complex relationships between the archive as a medium and the situated practices of contemporary art. The paper examines contemporary art as a form of temporary memory storage, particularly through the analysis of Tomáš Rafa’s doc-umentary films. It addresses two key questions: What specific aspects of concern for the ar-chive can be identified in political or activist contemporary art? How does concern for the archive differ from archival care, and why is this distinction important? In the first section, the author discusses the “zones of contact” in political activist art, highlighting the formation of dialogical structures and distinguishing them from scientific research and purely documentary creation. The second section traces the layers of artistic training in Grzegorz Kowalski's renowned studio at the Academy of Fine Arts in Warsaw, where the author gained experience in organizing and documenting collective workshops. This part reveals the specifics of documentary video creation with its activist and archival overlaps. In the final sections, the author outlines a theoretical framework for interpreting doc-umentary video pieces in relation to the concepts of archive, cultural trauma, and cultural therapy.

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ДИЗАЙН КАДРУ У ЗОБРАЖАЛЬНІЙ КУЛЬТУРІ СУЧАСНОЇ АВТОРСЬКОЇ РЕЖИСУРИ - ЧАСТИНА 2. ПРОЄКТУВАННЯ ПРЕДМЕТНОГО СВІТУ У ФІЛЬМАХ РЕЖИСЕРІВ-АВТОРІВ

Author(s): Galyna Petrivna Pogrebnіak / Language(s): Ukrainian Issue: 2/2023

The purpose of the article is to determine the artistic and aesthetic toolkit for designing the objective world of the frame in the visual culture of the author's film by the director, artist, cameraman. Research methodology. An integrated approach was used in the development of the topic, in particular, methods of systematisation, comparison, verification, comparative, and textual analysis. The analytical method and the method of figurative and stylistic analysis in their unity were used to consider the art historical aspect of the problem. The scientific novelty of the research lies in the fact that the director's creativity is investigated in the context of the visual culture of frame design and for the first time it became the subject of a special study. The appropriateness of using the systematic method in studying the features of the author's plastic film language has been proven. A comprehensive analysis was carried out and the features of frame design in the author's film creativity were revealed. Conclusions. The materials presented in the study expand the arsenal of knowledge about the specifics of the visual culture of the author's directorial film language in various worldview models and enable their application in educational courses, the creation of educational and methodological literature on the theory and history of cinema and television, directing

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EXHIBITION AS A SOCIO-CULTURAL PHENOMENON AND OBJECT OF EVENT MANAGEMENT

Author(s): Yaroslav Martynyshyn / Language(s): English Issue: 2/2023

The purpose of the article is a theoretical analysis of exhibition activity as a cultural phenomenon and an object of event management. The research methodology is based on the use of dialectical, systemic, cultural and interdisciplinary approaches, which makes it possible to comprehensively investigate the multifaceted phenomenon of the organisation of exhibition activities. The scientific novelty lies in deepening the understanding of the nature of the exhibition phenomenon and the peculiarities of its event management in the conditions of complicated social relations, uncertainty, and turbulence. Conclusions. The exhibition is a special cultural phenomenon, an object of event management, a source of information about the achievements of individual enterprises, industries, regions, and countries, as well as an effective marketing tool of intercultural communication. It is a semiotic space formed for the purpose of presenting ideas, things created for their presentation to society. Exhibits as semiotic signs form certain meanings, emotional and figurative cognitive activity, contribute to the growth of interest in the relevant products, the development of national culture and economy. Considering the exhibition as a product allows you to look at this marketing tool in the event management system in a new way, identify all the opportunities it provides and use them to get the maximum effect from the exhibition. The market of exhibition services is steadily growing. However, there is a conflict of interests between the organisers and the exhibitors: the organisers cannot offer a product that satisfies the communication needs of the exhibitors, and because of this, the exhibitors do not fully use all the possibilities of the exhibition. The reason for this is insufficient methodical support of the exhibition activity, as well as failure to take into account the assessment of the level of organisation of the exhibition and the quality of services provided by its organisers.

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