Transformation chic. Przyczynek do semiotyki mody okresu przełomu

Author(s): Joanna Łuniewicz / Language(s): Polish Issue: 15 (22)/2016

The subject of reflection in present article was Polish fashion in the era of transformation, examined as testimony to cultural and social changes as well as a proof of crystallization of new social, class and gender transformations. The first characteristic figure is “ the modern woman of the 90s” – thus defined by economic advancement and also emancipatory attitude expressed among others in the formula of the era’s guidebooks. Media created another ideal: a model reader of “Burda” magazine; she was able to combine pining for European chic with economic thrift. Jolanta Kwaśniewska is confronted with these ideals herein. Clothes, that were chosen by the changing society, were divided into two groups: “elitist” and “plebeian”. “Burda” belonged to the former. The “plebeian” current is represented in the transition period by the king of bazaar and the chav. The former exemplifies the carnival spirit and eclecticism of the `90s; the latter, the most characteristic class habitus of the decade within the meaning of Pierre Bourdieu. Equally crucial is combining the new inspirations with national traditions – most of all: longing for fantasy, independence and sumptuousness of the Sarmatians with longing for mythical America. The paper is concluded with a reflection on sartorial minimalism as a way to counter esthetic chaos of the transition period.

Wszystko jest dla ludzi. Młodzi widzowie w Polsce w okresie transformacji systemowej i ich pierwsze doświadczenia z kulturą audiowizualną

Author(s): Natalia Szeligowska / Language(s): Polish Issue: 15 (22)/2016

This article is an attempt to capture the reality of young TV viewers and the complexity of their participation in audiovisual media culture during the political transformation in Poland after 1989. Qualitative research (interviews and spoken stories) conducted on a group of thirty-year-old men whose period of early adolescence occurred in the nineties is the base for these deliberations. Respondents asked about their participation in the audiovisual media culture in the first half of the nineties talked about their first experiences with VHS cassettes, cinema and the so-called culture fansite. The aim is to identify what impact the aesthetics of the nineties – as well as an attempt to “catch up with the world” after 1989 – had on the daily lives of the subjects.

"Suszyć, skruszyć, zmielić, zważyć". Kino gatunków a filmy z Panem Kleksem

Author(s): Radosław Pisula / Language(s): Polish Issue: 15 (22)/2016

Polish genre cinema in the time of Polish People’s Republic was in stagnation due to the sociopolitical situation. Limited access to the thriving foreign film industry suppressed a natural evolution within the genre cinema. However, the liberalization of stagnant and overly politicized rules in the communist film industry brought change in the 1980s.The government used to saw movies as a way to sell propaganda in the country. This cultural revolution was marked by the appearance of a new generation of directors, similar in some ways to American New Hollywood; rise of a VCR market and laxity of political restrictions.One of the best representatives of this progression is the Mr. Kleks movie trilogy. Adaptations of Jan Brzechwa’s cult book series: Academy of Mr. Kleks (1983), The Travels of Mr. Kleks (1985), Mr. Kleks in Space (1988). All of theme were directed by Krzysztof Gradowski. The series is a perfect example of a genre-melting pot. Something unprecedented in the Polish cinema.Although there are many radically different conventions in the story, the narrative is very coherent. The release of the first installment clearly marks the beginning of the transformation in the Polish film industry.In the article, I will present the ways in which the film genres are functioning in the Mr. Kleks movies and analyze how these highly original productions were part of a turbulent period of transformational change in communist Poland.

Rysa, dukt, odcisk (nie)obecności. O spektrologiach Zagłady

Author(s): Aleksandra Ubertowska / Language(s): Polish Issue: 2/2016

This article presents an attempt to analyse concepts from Jacques Derrida’s hauntology and to apply those concepts as interpretive tools. Ubertowska uses them in her readings of post-traumatic literature, in particular texts and images that concern the Holocaust. In the analytical part of the interpretation Ubertowska focuses on motifs of bones and fish-bones in Zygmunt Miłoszewski’s popular novel Grain of Truth, but also in Jonasz Stern’s paintings. The Cracow-based painter’s methods are described as a spectral ‘substitution above and beyond genre’.

Открытие врага. O некоторых современных «польских» художественных фильмах, а также о российских и белорусских сериалах, посвященных второй мировой войне

Author(s): Wojciech Kajtoch / Language(s): Russian Issue: 2/2015

Movies create, among others, historical stereotypes. In USSR the presentation of Polish-Soviet relations during World War II was subjected to propaganda reasons. The USSR created its image as the liberator of Europe, concealing the alliance with Germany in 1939. In Soviet movies, Polish Home Army and government-in-exile were shown as pro-German organizations. Polish threads in contemporary Russian movies and TV series, analyzed in the article, seem to justify the hypothesis, that in the years 2005-2010 a chance to change the view of Russian-Polish relations during World War II appeared in Russia. Once the barriers which prevented Russians from learning about the most important facts were gone, the foundations for further exploration of the Polish theme were created. This can result in dissemination of basic knowledge, which is essential for establishing normal Russian-Polish relations.

Роль художественной интеллигенции в формировании идеологии «веховства»

Author(s): Alexei Vyacheslavovich Zyablikov / Language(s): Russian Issue: 2/2015

The article investigates the intellectual and spiritual moral tradition from which «vehovstvo» originated. It is noted that it was the art intelligentsia that managed to consistently express the ideas which became the spiritual base of «vehovstvo». Some of the most important ones were: creative self-education and political self-restriction of the personality, recognition of the priority of culture over politics, orientation to basic, traditional values.

Ретрансляция социокультурных символов советской эпохи в творчестве художественной интеллигенции Центрального Черноземья

Author(s): Violetta Kuzmina / Language(s): Russian Issue: 2/2015

The article shows various directions and forms of activities of the art intelligentsia of the Central Chernozem region aimed at the formation and relaying socio-cultural symbols of the Soviet era. The author attempts to prove that intelligentsia formed a new type of the Soviet personality that was capable of self-sacrifice for the sake of collective and state interests.

ПЕРЕФОРМАТИРОВАНИЕ ГРАНИЦ КОНФОРМИЗМА И НОНКОНФОРМИЗМА ПОСЛЕ «ОТТЕПЕЛИ»: СТУДИЯ Н. Г. ЧЕСНОКОВА

Author(s): T.M. Troshina / Language(s): Russian Issue: 2/2015

The article offers interpretation of creative activity of the studio of N. G. Chesnokov in Sverdlovsk within the context of reformatting borders of conformism and development of non-conformism. The article reflects on the past and present of creative organizations in the field of fine art.

МЕЖДИСЦИПЛИНАРНЫЙ ПРОЕКТ «СОВЕТСКИЙ МИР: КОНФОРМИЗМ И КОНФОРМИСТЫ»: ЧЕТВЕРТЫЙ ВСЕРОССИЙСКИЙ НАУЧНЫЙ СЕМИНАР «СОВЕТСКИЙ ХУДОЖНИК В СИТУАЦИИ СМЕНЫ ИДЕОЛОГИИ». 15 ФЕВРАЛЯ 2014 ГОДА, УРАЛЬСКИЙ ФЕДЕРАЛЬНЫЙ УНИВЕРСИТЕТ ИМЕНИ ПЕРВОГО ПРЕЗИДЕНТА РОССИИ Б.Н.

Author(s): T.A. Kruglov / Language(s): Russian Issue: 5/2014

Участники четвертого семинара проекта «Советский мир: конформизм и конформисты» (организаторы и координаторы проекта — про- фессор Института гуманитарных наук и искусств, доктор филологических наук Мария Аркадьевна Литовская и профессор Института социально-по- литических наук, доктор философских наук Та- тьяна Анатольевна Круглова) продолжают иссле- довать художественные стратегии и рефлексию участников культурных процессов, идеологиче- ские проекты власти и интеллектуальных элит в СССР. Проблемное поле, заданное на первом семи- наре (2012 год), расширяется: на этот раз основное внимание уделено проблеме генезиса феномена конформизма в период сталинской и хрущевской модернизаций.

Истинное лицо интеллигенции в историческом пространстве: размышления о монографии Э. Б. Ершовой

Author(s): Igor N. Lozbenev / Language(s): Russian Issue: 2/2016

The article shows the author's point of view on the contents of E. B. Yershova's monograph «The Russian intelligentsia in modernization processes of the 20th — the beginning of the 21st century». This book drawing on the analysis of numerous scientific research works shows the activity of intelligentsia for more than a hundred year period in various directions: political, scientific and technical, culture and arts.

Автопоезис – основания на едно понятие

Author(s): Galina Lardeva / Language(s): Bulgarian Issue: 3/2016

The paper includes an introductory part and a main part. The exordium gives a broad outline of the origins of the term autopoiesis and describes in broad strokes the history of its use over the recent decades: since the concept has been developed by biologists Maturana and Varela to borrowing it by the social studies (Niklas Luhmann) to its development receptively in the fields of drama studies and performative arts (Erika Fischer-Lichte). From the vantage point of this paper, this term allows to think of artworks in their autonomy, as closed systems, whose substance lies in internal operations, in reproducing themselves, rather than as determined by the environment, the social or historical contexts, as other works. The main part, subtitled A Deficiency in a Term, seeks to give a broad outline of the grounds to use the term autopoiesis in the context of criticism of modernism, oriented towards its production-aesthetical domination and the myths of the outcast artists, incorporated in the official hierarchal history of the New Age. In the sense of the paper, autopoiesis does not denote a technique or an art method, but rather perceiving mindsets, permeating the entire sensuousness of art makers and perceivers. Autopoiesis, thought of as the infrastructure, in the network of which the communication between producers and perceivers takes place, allows for easing the tension between a number of contradictions on which modernity builds its mythological discourse (subject–objects; artist–society; spiritual culture–material culture; irrational–rational).

Литургични текстове на светците, изписани в църквата „Св. Димитър” в Арбанаси

Author(s): Elena Popova / Language(s): Bulgarian Issue: 3/2016

The naos of the Church of St Demetrios, Arbanassi was painted in 1621 following an expansion of the building. The initial construction dedicated to St George was covered with murals painted supposedly in the last two or so decades of the seventeenth century, on which a later overlayer was painted. Fragments of the scene The Adoration of the Lamb of the overlayer in what is now the narthex of the Chapel of St George in the chancel and the naos (1621) have survived. In the chancel of the naos of the Church of St Demetrios, the best part of the representations of the saints officiating at the Episcopal celebration of the Divine Liturgy have survived, but the Greek texts on their scrolls are almost obliterated. Fragmentally, certain signs are readable, allowing reconstructing some of the liturgical quotations traditionally inscribed beside certain images. Only fragments of the murals at the Chapel of St George have survived. Of the figures of the six hierarchs in the apse, only the name of St Athanasius has not been lost. The texts on their scrolls are legible though––both related to the doctrine of the Trinity––allowing for establishing the saints’ identity. Finally, to recap, both teams of icon painters working in the early seventeenth century at the naos and the chapel of the Church of St Demetrios, Arbanassi, were well versed in theology.

Българският павилион на световното изложение в Париж през 1937 година – поръчки и реализации

Author(s): Maria Miteva / Language(s): Bulgarian Issue: 3/2016

The important role of expos in the twentieth-century history is highlighted. The dearth of factual definiteness and fundamental studies on Bulgaria’s participations in these events gave grounds for this paper. The mounting of the national participation in the International Exhibition in Paris 1937 is traced, which has begun two years earlier. The Export Institute and the royal Legation to Paris, whose archives are the main source of information used in this study, succeeded in attracting to the process renowned specialists in each of the fields to be presented at the expo. The article focuses mainly on the architectural and art designs of the Bulgarian pavilion. The commissions and contests are traced, preceding the construction and the decoration of the pavilion. The programme of the mural painting contest is covered in detail as well as that of the competition for an illustrative industrial map of Bulgaria. The work of architects Yordan Yordanov and Delcho Sugarev; of Ivan Penkov, the artist assigned to design the entire decoration and furnishing of the pavilion as well as the competition winners Detchko Ouzounov and Tsanko Lavrenov, is highlighted. The interior design and the decoration of the pavilion are in perfect harmony and completely in accord with the architectural design. The joint efforts of a number of specialists, the exchange of creative ideas and skills, though missing the deadlines, resulted in a consistent, compact and catchy visual effect with the pavilion’s illuminated sign Bulgarie.

Гръцки надписи от църквата „Св. Параскева” („Св. Петка стара”, „Живоносен източник”) в Пловдив

Author(s): Alexandra Triphonova / Language(s): Bulgarian Issue: 3/2016

In this paper eight greek inscriptions of the St Parasceve (St Petka The Old, Zoodohos Pigi) church in Plovdiv (Philipoppolis) (1836) are discussed. They date back to the ΧVIII – last quarter of the ΧΙΧ c. and give valubale information about historical persons, which include a metropolitan, donors, painters, members of a craft guild and deceased persons. The ecclesiastical circle is presented by a Metropolitan of Philippopolis, named Chrysanthos of Lesbos (Mytilene) (1850-1857), who ordered and paid for the painting of the icon St Three Hierarchs (1853). Among the donnors, whо date back the second and the last quarter of the ΧΙΧ c., there are mentioned Athanassios Georgiou, who gave money for the icon Synaxis of the Archangels (1825), the Greek Community of Philippopolis, which sponsored the building of the chucrh of St Parasceve (St Petka The Old, Zooohos Pigi) (1836), the memebres of the tinker’s quild and their families, who assistanced the painting of the icon St Spyridon with four life scenes (1856), and Vassilios Ferias, who gave the resources for the icon Christ Great Priest (1889), although it originates from another church in the region. The mentioned painters, who are three, date back to the ΧΙΧ c. The first one is Melchizedek who was from Ephesus and was a monk and Ex-Hegumenos (Prohegumenos) in the Monastery of Vatopaidi, and painted the icon of Synaxis of the Archangels (1825). The second painter is Demetrios from Enos who is the same person with the painter, who noted his name by the initials DM, and who painted the icon of St Spyridon with four life scenes (1856). The third one is Philippos A drianopoulitis (third quarter of ΧΙΧ c.), who is the author of the icon of Ascension of the prophet Elias (1857). It comes out information about the tinker’s craftsmen guild from the third quarter of the ΧΙΧ c., members of which, along with their families, contributed to the painting of the icon of st Spyridon with four life scenes (1856). Finally, the inscriptions inform about two deceased persons from ΧVIIΙ – third quart of the ΧΙΧ c., Anastassia Georgi (ΧVIIΙ-ΧΙΧ c.) and Demetrios Petkou Tachtzis (†1869).

А.Н. ОСТРОВСКИЙ В РЕПЕРТУАРЕ ПРОВИНЦИАЛЬНЫХ ТЕАТРОВ: 1849–1865 ГГ.

Author(s): Kirill Yuryevich Zubkov / Language(s): Russian Issue: 2/2014

Based on the unpublished documents, the paper considers the first stage of adoption of A.N. Ostrovsky’s plays by provincial theatres. The information about the permitting and banning of Ostrovsky’s plays by the theatrical censors in 1849–1865 is used for the first time. These data allowed us to judge about the formation of the playwright’s popularity.

КОНСТРУКТИВНЫЙ ПОТЕНЦИАЛ АРХИТЕКТОНИЧЕСКОЙ ФОРМЫ «ЕВГЕНИЯ ОНЕГИНА» (К ПРОБЛЕМЕ ХУДОЖЕСТВЕННОГО ЕДИНСТВА РОМАНА В СТИХАХ)

Author(s): Evgeniy Vasilevich Sintsov / Language(s): Russian Issue: 2/2014

In this paper, we study the author’s figurative reflections of different manifestations of artistic unity using the example of Alexander Pushkin's novel in verse “Eugene Onegin”. It is shown that in the text under consideration, these manifestations are concentrated in the introduction and the final lyrical digression; each of them is filled with new principles of meaning- and form-making, which allows us to interpret them as a set of elements of the text’s architectonic form. We describe the principle of correlation between the architectonic form and the compositional one. By framing the chapters, which are characterized by intentionally fragmented relations, the architectonic form of “Eugene Onegin” shows a powerful deconstructive potential and thus fixes the unsteady nature of semantic flows in this work.

ПЬЕСА МИРЬЯМ НАЙДХАРТ «НЕОФОБИЯ» КАК ОБРАЗЕЦ ВЕРБАТИМ-ДРАМАТУРГИИ

Author(s): Elena Nikolaevna Shevchenko / Language(s): Russian Issue: 2/2014

We analyze the specific features of the genre of verbatim drama (a form of documentary drama characterized by word-for-word fixation of the utterances of real people) using the example of the play “Neophobia” (2007) by a Swiss playwright, Mirjam Neidhart. The play addresses the birth-rate crisis in modern Europe and is based on the interviews taken by the author from different people in Germany and Switzerland. We study Neidhart’s play as a typical example of the genre of verbatim drama and make a conclusion that the verbatim technique is based not so much on a creative practice as on a technology borrowed from sociology, and a verbatim play becomes particular variant of social research.

XV Zjazd Stowarzyszenia Polskich Muzyków Kościelnych (Gniezno, 23-25 września 2014)

Author(s): Czesław Grajewski / Language(s): Polish Issue: 3/2015

„Niemowa z Kampen” — Hendrick Avercamp w Archiwum Zbigniewa Herberta

Author(s): Magdalena Śniedziewska / Language(s): Polish Issue: 17/2010

The present article analyses the rough drafts of Zbigniew Herbert’s essay on Hendrik Avercamp — the seventeenth century Dutch landscape painter who specialized in winter landscapes and scenes with numerous tiny figures. The author attempts to reconstruct the compositional idea for the essay and establishes facts concerning the research work done by Herbert concerning the life and work of Avercamp, confronts the findings with the present state of research and considers the issue of the biographical dimension of the painter’s artistic output as one of the keys to solving the interpretative problems of his paintings and the artistic tradition that had influenced the shaping of the Avercamp idiom of paintings. Avercamp’s works are juxtaposed in the article with the landscapes painted by Pieter Bruegel the Elder to show the difference between the visions of the world represented by the two painters. Bruegel, in Herbert’s opinion, is bitter in his reflection on the subject of transiency of human existence. Avercamp, conversely, tends to have a cheerful outlook on life, the world and his compatriots. Avercamp’s paintings allow us to get to know winter customs of the Dutch, their winter outdoor games participated by all — hence a thesis posed by the poet underlying the democratic character of skating rinks. In doing so, Herbert proposes to scrutinize carefully Avercamp’s artistic output within the context of, defined after Schiller, the notion of naivety, understood as “the virtue of accepting reality with humility” adopted from the old masters.

SZTUKA ZAANGAŻOWANA ARTURA ŻMIJEWSKIEGO

Author(s): Barbara Tryka / Language(s): Polish Issue: 2 (21)/2016

Tryka describes a relationship between Artur Żmijewski’s artistic practiceand his theoretical deliberations on involved art. Żmijewski’s conceptionof art, expressed in a manifesto Applied Social Arts, is discussed in thecontext of aesthetical conception of art. Tryka starts with the descriptionof his artistic manifesto entitled ‘Applied social arts’, which is one ofmost influential voice in the debate on the role of involved art in contemporaryculture in Poland. Theoretical questions from the manifesto connectedwith the metaphor of art as algorithm, the alienation of art andpossibilities of its overcoming fill the first paragraphs of the paper. In thesecond part, Tryka described two projects by Żmijewski entiltled ‘Democracies’ and sculptural plain-air entitled ‘Memories of Celulose’. She compared them with Żmijewski’s ideas and interpreted them in philosophical context. Żmijewski believed that the value of art cannot be measured in the context of aesthetics but only in the context of its ability to influence social andpolitical events. He considered art as social tool which could be used to studying and forming social relations. Moreover, artists should contribute to people’s involvement in artistic activities, and in forming people’s world views. They should be able to develop and explore creative potential of people who aren’t yet interested in art and they should be able to properly evaluate cooperation between people.