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The paper is devoted to various creative approaches that an artist can apply to book design and illustration. These approaches are accompanied by examples of works by famous artists. The conclusion is made that the systematic analysis of creative approaches to book illustration in classes with students is important for increasing their visual literacy, activating creative thinking and developing professional skills.
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The following paper analyzes the ways in which imagination is a key mechanism in defining the concept of identity (of a persona or of the other). It does so by articulating two concrete experiences of Europeans visiting Japan: the literary theorist Roland Barthes in 1966 and the jazz pianist Keith Jarrett in1976. Both cases are relevant and symptomatic not only for those historical periods, but also for essential contemporary debates concerning cultural appropriation, multiculturalism and the perspectives through which we encounter, comprehend, and behave towards alterity. Several more theoretical dimensions are revisited, from Martin Heidegger’s rooting of the sense of Being in a precise here and now to ethical considerations on what constitues an Event (and not only an aesthetic one) and to the way music can teach us different nuances for redefining contemporary theory in connection to today’s most urgent needs.
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Sinking Sculptures is a project by Professor Konstantin Denev realized through an exhibition on June 21,2012 in Resonance Gallery in Plovdiv. The project represents parts of his sculptures made of wood and personal belongings, which he cuts symbolically, transforming them into new plastic objects, placing them in another space. This is an act of short-term immersion through which Professor Denev makes us empathize with his feelings about the instability of space and time in which we live and the constant fluidity of values, ideals and cultural stereotypes.
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This study explores the underground artistic project Autopsia from Vojvodina, examining its visual, textual and musical works within the context of ex-Yugoslav avant-garde, neo-avant-garde and postmodern art. The focus will be on Autopsia’s latest project Steel Books, which are unique art objects that incorporate diverse cultural questions. Steel Books recontextualize ancient motifs of night and death, resonating with similar themes found in Baroque art and literature. Autopsia combines the Baroque method of discordia concors with postmodern eclecticism, but rather than celebrating the neoliberal ‘free market” of cultural artefacts, it offers a critical perspective.
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Овој труд ја нотира промената во трасформативниот процес на иницијацијата на женските ликови во мјузиклот Во шумата на Дизни. Во него се истакнуваат промените на нормите и правилата кои ги налага општеството преку позитивните примери во цртаните филмови на Дизни, кои, пак, и самите се потпираат на сказните. Во овој мјузикл Дизни покажа дека супресијата која се вршеше врз женските ликови во претходните цртани филмови е неправилна, па воведе нови позитивни правила и вредности за најмладата публика. Во овој труд само накратко ги разгледуваме промените кај ликовите Црвенката, Пепелашка, Златокоса, вештерката и Џон.
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The aim of this article is to analyze and interpret a mosaic in one of the Roman houses (the House of Birds) in Italica (today Santiponce, Sevilla). This mosaic, depicting 33 birds of various species in square fields, will be considered in the context of the scientific interest in birds, which dates back to the Hellenistic era, as well as the custom of arranging aviaries in the country villas.
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While scholars of medieval theatre have developed their respective periods and genres over the past 150 years, their work is subject to constant criticism and review. This text will examine a selection of pieces from Latin manuscripts exclusively. The objective of thiss tudy is to demonstrate how the various genres addressed the established stage conventions of the Middle Ages, which are markedly distinct from those of the Modern European period in that they overlap with the liturgical ones. The potential for staging the texts will be examined, both in terms of the action’s coherence and in terms of the available rubrics/stage directions, the nature of which also necessitates a degree of interpretive effort and imagination.
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Ivan Gashtilov, a famous researcher and local historian, has devoted a significant part of his life to the study of the architectural heritage of the Yugovo region. In a rich collection of articles, studies, and monographs, he documents historical buildings and facilities, penetrating the depths of the construction technologies, traditions, and customs of the craftsmen from the village of Yugovo. With an emphasis on forward thinking and innovative approach, the author presents the unique vision and skills of these exceptionally gifted craftsmen. The studies of I. Gashchilov reveal various aspects of the life and architectural work of the Southern masters, including the technical characteristics of the constructions, the social and cultural values of the masters, as well as the patriotic motivations underlying each building. As a result of their magnificent work and craftsmanship, their buildings can be appreciated not just as works of architecture but also as living testimonies of the past that withstand the challenges of time.
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This paper presents the results of research conducted on the art market in Bulgaria, with interviews with two private Bulgarian galleries and one survey with a third gallery. The information obtained helps us to understand a previously unexplored aspect of the art in the country, as well as its issues. The question of demand and how, in fact, it largely depends on the needs of the users and their attitude towards art is addressed. Methods of attracting audiences are examined, as well as selling techniques. Here, the study participants make efforts towards creating trust and loyalty in the audience. Questions are also answered about the relationship between artists and galleries and how an exhibition comes about, what it takes to make it successful, and how a good partnership can lead to multiple sales. It becomes clear that it is important whether the artists are new to the guild or already established. The study also addresses the issue of competition. It shows how it is perceived as an ally rather than a rival and the benefits of such relationships. The problems of the market and whether they can be solved are also explored. Lack of attitude towards art, low promotion of art in Bulgaria, and changing consumer preferences are mentioned as the main ones. Some of these issues can be partially influenced by the galleries; others cannot. The information collected concerns a topical issue and would be useful not only for the users but also for the galleries themselves.
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The proposed study presents traditional Horo folk dances and games from Staro Selo village, Tutrakan municipality. On the border of two ethnographic groups – Hartsoi and Grebentsi, the dance folklore of the settlement has preserved ancient patterns, also influenced by Shikovtsi, Sartovtsi, and Glavantsi. Correlations between them driven by migration processes in Southern Dobrudzha create region-specific traditional practices featuring Horo dances and games. Through comparative analysis of samples from neighbouring and remote communities, it is determined which are local and which are incorporated. The difference, compared to the Hartsoi ethnographic group from the interior of the habitat, is that the villagers from Staro Selo interpret the dances of the newcomers, making them their own, but at the same time, they also preserve the original. The conclusion is that they broaden their repertoire by adopting samples from nearby and faraway ethnographic groups and thus create a region-specific dance folklore.
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The subject of study in the article are Bulgarian folk songs with the motif “A Virgin Rescues Malta”, which are known from recordings and publications made over three centuries within the borders of almost the entire Bulgarian ethnic territory. Here they are considered as variants of an original author's text, which arose and took shape in the process of its long existence in a purely folkloric environment. In their multi-layered structure, the organisation of time and space is complex and ambiguous, and individual details introduce polysemanticity that affects both the characters, the place and time of the action, and the action itself. This study sets out to delineate the boundaries of the song chronotope and to highlight its emphases. The aim is to extract information that complements and enriches the main narrative in this group of folk works and can serve for its complete perception and understanding of its contradictions.
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Salvatore Settis is a most distinguished and highly reputed Italian art historian and archaeologist. His name resonates with some of the most important art history and humanities research centers in the world. Specialized in Italian Rennaissance and antiquity, in 1994 he became director of the Getty Center for the History of Art and Humanities (now the Getty Research Institute) in Los Angeles, a position that he held until 1999, when he returned to Pisa, where he would lead the Scuola Normale Superiore from 1999 to 2010. Since 2010 he has been Chair of the Scienti(c Council of the Musée du Louvre. He is also a member of the Académie Française, the Academies of Sciences in Berlin and Munich, the American Academy of Arts and Sciences, the Accademia Nazionale dei Lincei, the Accademia delle Arti del Disegno, and the American Philosophical Society. Having followed for years professor Setttis’s publications and exhibitions, I had the honor to meet him in Pisa, where he generously accepted to have this conversation for the present issue of our journal, dedicated to a topic that he had been pursuing for decades now, in many of his writings and exhibitions, mentioned in our conversation that follows.
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In the present paper I collect some material for a cultural history of the inhabited ruin, still missing in the otherwise vast scientific literature on ruins. I argue that inhabitability needs to be acknowledged as a key characteristic of ruins, and that art historical and archaeological evidence substantiates the claim that there is no actual hiatus between the non-ruined and the ruined. Whether the rationale for dwelling in the ruins is pragmatic, symbolic, aesthetic, moral, sociopolitical or philosophical, the phenomenon needs to be mapped in detail. I take my cue from Georg Simmel, whose bewohnte Ruine has never been analyzed in depth, and complement it with Heidegger’s insights. I then discuss specific instances of inhabitable ruins from the Casa dei Crescenzi to Piranesi and Hubert Robert. Among the case studies are Giulio Romano’s Palazzo del Te, Clérisseau’s Stanza delle Rovine, and particularly François de Monville’s residential Broken column in the Désert de Retz. Ultimately, in this brief investigation I will address why and how ruins have been, since the Trecento, construed as inhabitable by trees, by people, and by other buildings.
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Inhabiting ruins is closely connected to discovering a memory. Memory is that room where, sometimes, our gaze lingers, looking for a time and a place of our own. Inhabiting is, then, moving to a place whose memory we aim to turn into our homeland. We propose three moves – three gazes – that sought that homeland in the same place: the ruins of the Parthenon. First, the move of a London engraver who captured the opulent fête that a minister of the Greek army offered to the French and English troops in those ruins in 1854. The Parthenon, in a renewed life, becomes the open window to a homeland of men whose time is as fleeting as the time of a dinner. Second, 50 years later, we discover the stop of two travelers – a painter and his father – in Athens. Their gaze on those same ruins turns the architecture into a clearing that binds heaven and earth together, in a time frozen by the hasty flight of those gods defeated by destiny. Finally, we explore the visit of an American architect 100 years after that London engraver who aimed to show us that same stone structure as a place halfway between old gods and new men, in a time that both decide to share again. The visit to these three gazes that inhabited the Parthenon will show that the memory inhabiting the ruins keeps, in its different lives, our renewed fates.
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In aerial views of the Acropolis of Athens, the Odeion of Herodes Atticus is the most present architectural monument on the South Slope while the theatre of Dionysus often appears as a void due to its unrestored state despite its acknowledged importance as the birthplace of Western drama and archetype of Greco-Roman theaters. This paper adopts Pierre Nora’s “realms of memory” framework to explain this disparity as the outcome of a national heritage management policy to preserve “first quality” Ancient Greek theaters in their unrestored state as lieux de mémoire for the modern Greek nation while restoring “second quality” Roman performance buildings as milieux de mémoire that bring the nation together in modern performances of Ancient Greek drama, as two aspects of the same desire to revive the Ancient Greek civilization in the modern Greek state. Supporting examples are found in restorations, for modern festivals, of Roman period odeia and of “polluted/desacralized” Greek theaters that had been modified for Roman amphitheater games, employing terminology suggested by Eleana Yalouri who coined also the “first-and-second-quality” distinction. Culture-based specificity and validity of the adopted framework is then discussed based on odeion restorations on the Aegean Islands that date from a period of Italian control instead of nation-building in modern Greece. This distinction is proposed to reveal the validity of Fernand Braudel’s “total history” paradigm that suggests surface phenomena (including architectural monuments) to be unintelligible without understanding the underlying economic, social, and political conjuncture that is, in its turn, largely shaped by geo-history. Concluding observations involve themes for future studies along this path.
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Started as an investigation on the common elements of the ancient and the contemporary city of Thessaloniki (Greece), this study is also an argument for the essential role of historical plans as complementary sources for urban archaeology – especially when the non-regenerable resource they represent, i.e., the historical urban fabric, has been predominantly lost. Based largely on two directions of analysis – the configuration of the street network, and the general layout of the palatial complex of Galerius, along with a brief assessment of the recent built stock evolution in the background –, the main conclusion is that what used to be, no more than a century ago, an authentic historical city that developed organically over two millennia, is now a wide historical center with a compromised urban fabric, a limited (if not already exceeded) potential for development, and serious problems in the interpretation of the historical city. These outcomes all stem from the urban planning approach and implementation over the course of the last century. The limited set of data employed in this study, consisting of one historical city plan, and a couple of archaeological plans focused on one relevant area of the ancient city, might be perceived as a basis for a narrow and distorted view. However, I view it as a representative sample for what could be only the tip of the iceberg in deciphering what was actually lost in the process. Rather than a gain for urban archeology, the process of urban development and renewal (particularly in the post-war period) is, in my view, a negative and irreversible interference with a historical site, transforming a living ancient-modern city into a modern museum of an ancient city.
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Was there a concern for ruins in 19th century Romania? The development of the romantic spirit and the taste for the picturesque, circumscribed to a narrow cultural elite, triggered an interest for antiquities and ruins. This specific preoccupation was animated by the evocative role of a far and still little-known past, and also by the aesthetic value of the ruin. The increasingly lively interest for the research of national history and the early attitudes towards the preservation of its material remains founded a whole new chapter of the early-modern Romanian culture. Was there a cult of ruins in 19th century Romania? Towards the middle of the century, a significant literature of the ruin was flourishing – borrowed or indigene, developed in a meaningful Romanian lyric. However, the subject came to the attention of local antiquarians from a pragmatic perspective. The early archaeological excursions in Oltenia of Vladimir Blaremberg and Mihail Ghica, popularized in contemporary publications, represented a first step in the systematic approach to the ancient remains in Wallachia, which later became the basis for the Romanian Academy studies. #e “archaeological expeditions” of the mid19th century led by Alexandru Pelimon, Cezar Bolliac, Dimitrie Papazoglu, and Alexandru Odobescu accompanied by the painter Henri Trenk and, later on, those of Gheorghe Tattarescu, contributed to the foundation of a scientific knowledge, to a first inventory and in some cases, to the graphic documentation of the artifacts. By discussing these works, the article proposes several states of the architectural ruin in the Romanian 19th century: as an object of contemplation, as a source of historical information, as a vehicle of memory and aesthetic appreciation or, finally, as a means of political legitimation.
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