Imperijalni paneli u crkvi San Vitale i mogućnost njihove interpretacije

Author(s): Tamara Miladinović / Language(s): Serbian Issue: 1/2015

Imperijalni mozaici cara Justinijana i carice Teodore u crkvi San Vitale u Raveni jedan su od najreprezentativnijih primera carskih panela u Vizantijskoj umetnosti VI veka. Smešteni unutar oltarskog prostora hrama, oni čine integralni deo kompleksne mozaičke dekoracije prezviterijuma. Sami za sebe, paneli su bili predmet brojnih rasprava i tumačenja. U njima su pronalaženi različiti značenjski slojevi, u nameri da se objasni pozicioniranje imperijalnog para u najsvetijem prostoru hrama, uz samog Hrista i patrona crkve Svetog Vitalisa koji su prikazani u konhi apside. Dosadašnja istraživanja su uglavnom bila posvećena identifikaciji likova na panelima, samoj radnji koju oni vrše i mestu na kom se ta radnja odvija. Osnovni cilj ovog rada jeste da se tumačenjem ikonografije ova dva panela, kao i isticanjem njihovih sličnosti i razlika, ukaže na različite mogućnosti njihove interpretacije. Time bi se omogućilo jasnije značenje carskih panela i njihove uloge unutar dekorativnog programa Ravenske crkve.

Kameja sa likom Luja XV kao sredstvo definisanja identiteta Madam de Pompadur na portretu njene toalete

Author(s): Miomir Milić / Language(s): Serbian Issue: 1/2015

Focus of this paper are portrait „Madame de Pompadour at Her Toilette“ and cameo presented in form of bracelet on Pompaodur’s wrist with the image of the King, Louis XV. Wide analysis of the portrait, as well as life of Madame de Pompadour and her relationship with the King, leads to revealing an exact purpose and meaning of presented cameo. Portrait was painted in 1758, by Fracois Boucher, one of the Pompadour’s favorite artists. Scenes of female toilettes were popular in French art since 16th century and the period of French Renaissance. Those were usually sensual scenes which were emphasizing eroticism and seduction of presented female figures. In the eighteenth century, Madame de Pompadour made some differences in toilette rituals and raised them to a higher intellectual level. During her morning rituals she led serious conversations with her audience which contained prominent intellectuals of her time. This portrait must be observed and analyzed in such context, with no elements of prurience or coquetry, but deeper and more complex ideas. Madam de Pompadour was a well educated woman with wide range of interests. Even before she came to Versailles and become official misstates of the King, she was interested in various types of arts. As official mistress of the King, she became one of the most prominent female patrons of visual arts in 18th century and person whose portraits are among the most intellectually complex portraits of this period. For those reasons portrait of her toilette must be considered more seriously than only a presentation of the King’s mistress who is applying rouge on her lips. Here, make up and „making up“ are compared with the establishment of royal identity and „making up the royal self“, considering that she was bourgeoisie by birth. Portrait of the King is also supporting the process of making up her identity, but in a new way which is corresponding to the biographical facts from the Pompadour’s life. In the year when portrait was made, Madame de Pompadour was not King’s mistress any more. She became figure more important for the King - his very close friend and private counselor. She was the person whom King believed and whose opinion he appreciated the most. As his advisor she was standing behind many decisions which were signed by King. Presenting Louis XV on her wrist, in a form of cameo which was designed by her, Boucher literally placed Madame de Pompadour above the King. In that way she was defined as a female who holds King on her wrist as a piece of jewelry which could be removed whenever she wants, but still it would never be removed due to the sincere friendship between the two of them.

Politinio įvykio rematerializavimas meninio aktyvizmo praktikose

Author(s): Kęstutis Šapoka / Language(s): Lithuanian Issue: 10/2015

The article focuses on the materiality of ideology and the idea of art and life as an ideological accident, using the specific example of the (anti)artistic activism of the Alytus DAMTP (Duomenkasių ir psichodarbininkų sąjūdis, Eng. the Coalition of Data Miners and Psycholabourers). The article discusses the specific situational concept of art blending in with life and generating alternative meanings. Ideology is specifically material. This means that even though this ideology does not ‘exist’, it manifests itself through the subject and for the subject, to be more precise, it creates the subject, questions it through a certain situation or daily practical rituals and through material forms of being and institutions, creating the material or substance of the ideology. However, this matter is also a “falsifying conscience” that institutionalises and falsifies the (daily) situation in the broader sense, creating a regulatory structure of alienation and spectacle. Ideology is related to the logic of theatre performance (let us not forget that there is always a relationship between theatre, acting and daily life). A “great accumulation of plays” is generated, where everything that was ever experienced withdraws into the area of representation. Besides, the play or spectacle is not simply an entirety of events, but the social relationship established by these events between individuals made to act out a certain (social) role. 161POLITINIO ĮVYKIO REMATERIALIZAVIMAS MENINIO AKTYVIZMO PRAKTIKOSE The falsification of daily life is undertaken by the modern bureaucracy and the netocracy of today’s worldwide web. However, despite the tendency for societal power to become more virtual, softer and an ever more streamlined falsifying conscience, the intersectionality of social relationships is still an issue, in other words, the problematic question of social class emerges once again. This also means the reemergence of political/aesthetic situations such as the importance of a method of revealing this falsifying conscience. Withdrawing from the level of daily falsification, the “societal play”, and the transferral of expression to the proletariat level or the level of direct action was a relevant issue for many (anti)artistic activist movements after World War II, from the Lettrists and situationists up to the early (political) fluxus movements and present-day activism/sabotage tactics. Jacque Rancière discusses the internal structure of politic and its core, which can also be called “aesthetic”. It can be interpreted as a certain internal and basic structure that (dis)organises and questions space, time and society’s activity within these dimensions. Certain political/aesthetic situations reemerge, such as the importance of a method of revealing this falsifying conscience. One of the methods that an artist or intellectual can use to escape this falsification, is by betraying their (small) bourgeois social class. The Alytus DAMTP invokes a similar logic in its activity. It could be called a complex or network art strike or a similar activist phenomenon.

Rekonstrukcja i dokumentacja cygańskiego życia i folkloru

Author(s): Nicolay Bessonov / Language(s): English,Polish,Romany Issue: 1/2016

Author is a painter. Together with the members of the Romen Theatre in Moscow he carries out a project of theatrical reconstructions of the traditional scenes and situations of the gypsy camp life (dances among others). The acts are prepared according to detailed historical studies. They are subsequently photographed and filmed to form an archival collection to be used by researchers in the future.

Od Romani Art do Jaw Dikh

Author(s): Elżbieta Mirga-Wójtowicz / Language(s): English,Polish,Romany Issue: 1/2016

The Author begins with taking note of the phenomenon of the first Roma Pavilion at the Venice Biennale (2007) and the preceding exhibition in Budapest: First NationalExhibition of Self-taught Roma Artists (1979). These events serve as a backgroundto her essay about the beginning of the Roma artist movement in Poland. The Authorwrites about Romani Art movement in Poland, initiated in 2007 by MałgorzataMirga-Tas, which consisted of herself, Bogumiła Delimata and Krzysztof Gil, andabout the directions taken by the artists in the following years. Author of the articlepresents one by one artistic activities of Romani Art movement, especially thoseof Małgorzata Mirga-Tas. It turns out, that the present Roma artist movement inPoland is not only an artistic phenomenon, but a manifestation of the newly born,contextual, modern identity of young Roma elite.The Author begins with taking note of the phenomenon of the first Roma Pavilion at the Venice Biennale (2007) and the preceding exhibition in Budapest: First National Exhibition of Self-taught Roma Artists (1979). These events serve as a background to her essay about the beginning of the Roma artist movement in Poland. The Author writes about Romani Art movement in Poland, initiated in 2007 by Małgorzata Mirga-Tas, which consisted of herself, Bogumiła Delimata and Krzysztof Gil, and about the directions taken by the artists in the following years. Author of the articlepresents one by one artistic activities of Romani Art movement, especially those of Małgorzata Mirga-Tas. It turns out, that the present Roma artist movement in Poland is not only an artistic phenomenon, but a manifestation of the newly born, contextual, modern identity of young Roma elite.The Author begins with taking note of the phenomenon of the first Roma Pavilion at the Venice Biennale (2007) and the preceding exhibition in Budapest: First National Exhibition of Self-taught Roma Artists (1979). These events serve as a background to her essay about the beginning of the Roma artist movement in Poland. The Author writes about Romani Art movement in Poland, initiated in 2007 by Malgorzata Mirga-Tas, which consisted of herself, Bogumila Delimata and Krzysztof Gil, and about the directions taken by the artists in the following years. Author of the article presents one by one artistic activities of Romani Art movement, especially those of Malgorzata Mirga-Tas. It turns out, that the present Roma artist movement in Poland is not only an artistic phenomenon, but a manifestation of the newly born, contextual, modern identity of young Roma elite.

Digitalizácia zbierkových predmetov zo zbierok Vojenského historického múzea v Piešťanoch

Author(s): Viera Jurková,Miloslav Čaplovič / Language(s): Slovak Issue: 1/2017

Kilka uwag o obecności zwierząt w filmie i literaturze science fiction

Author(s): Agnieszka Nieracka / Language(s): Polish Issue: 2/2016

One of the most essential topics of science‑fiction literature and film is the encounter of a human being with the other, an alien being. Not only does the meaning of this encounter point to the dilemmas of anthropocentrism, but it also emphasizes the loneliness of a human being in the face of other, non‑human beings. Animal studies and imagined worlds of science‑fiction share basic questions about the possibility of communicating with the representatives of other species. Therefore, in this paper I analyze selected texts of science‑fiction literature and films that consider the consequences resulting from the encounter of the human being and the animal. I indicate the primacy of feminist thought in this field of technoculture (Donna Haraway) and, at the same time, I present the examples of bio‑technological animals in cyberpunk. I also evoke the figure of King Kong, which is emblematic for the fantasy film genre, in order to accentuate the presence of feminist discourse in this “encounter of Beauty and the Beast”.

Uśmiech kota. O twórczości Chrisa Markera

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

Selected works of Chris Marker will be interpreted with respect to the presence of animals in his projects. An idiosyncratic bestiary, which may be visible in a number of Marker’s works – from his 1960s documentaries and filmic haiku, to cats inhabiting Second Life and public spaces – triggers reflection on his relationship with animals in general, and cats in particular. Marker’s works are analyzed from three different perspectives: the relation of technology to animals, the relationship between humans and animals, and the author’s own attitude towards the bestiary. The interpretation of Marker’s versatile works leads to the conclusion that his artistic continuum is to some extent guaranteed by the presence of a cat, which appears in different forms depending on the technology and type of medium used in a film. By becoming the author’s alter ego, the cat allows him to explore politically and socially sensitive issues and to appear without restraint in Second Life as well as on Poptronic platforms.

LUUK

Author(s): Lucia Novanská Škripcová / Language(s): English Issue: 1/2017

Le Cavalier de Surcea (Fin IIe – Début Ier s. av.n.è.)

Author(s): Emile Condurachi / Language(s): French Issue: 19/2011

The paper studies a group of objects made of silver with gilt and of iron, found in the area of the settlement Surcea, Covasna region, in Transylvania, in the Eastern Carpathians, during the Dacian antiquity. It consists of a not very big oval plaque (phalera?), a smaller round phalera, four semicircular objects – all of which made of silver with gilt – and other finds. The oval plaque is decorated with a horseman in armour, with greaves and with a bird with spread wings above his head. A winged griffin is depicted on the smaller phalera. According to the author, the objects had been made by a travelling craftsman who worked in a Dacian environment. There is a wide area of dissemination of such objects, covering the entire Balkan-Pontic area. There are differing views on the dating of the treasure: from the 3rd to the 1st century BC. A chronological ordering of phalerae is made, which shows the continuity from the Bronze Age to the New Iron (La Tène) Age. The similarity between the image of the horseman from Surcea and the phalera from Galiche is pointed out. Different hypotheses have been expressed on the origin of this type of objects, e.g., in the direction of the Pontos Euxeinos. Another possible lead can be considered to be Celtic, which can be illustrated by means of certain artefacts from the civilisation of the eastern branch of the Celts. The Celtic necropolis near Ciumeşti is such an example, which yielded the following finds: armour, greaves, spears and – above all – an iron helmet on which metal eagle with spread wings is perched. This is evidence of real presence of Celts and of their art along the borders of the Dacian world. They are in harmony with the information on the march of Burebista against the Celts. The author also adduces examples of coins of Celtic origin found in the territories in question. Following this line of thought, the bird above the head of the horseman from Surcea apparently tends to be evidence of Celtic rather than of Northern Pontic influence. The helmet, the shield, the torques, the bracelets, the fibulae and other similar finds from the grave in Ciumeşti are typically Celtic. On the other hand, the ceramic finds are of Dacian type and belonged to the Hallstatt tradition. Consequently, that burial testifies to a process of amalgam between Celts and Dacians. The necropolis is dated ca. 300 BC. In conclusion, the author claims that the appliqué with the horseman and the bird is evidence of the dual character of the theme under consideration, combining the constant of tradition with the added foreign influence.

Ein Thrakischer Herakles. Zur Phiale von Rogozen

Author(s): Peter Zazoff / Language(s): German Issue: 19/2011

The paper examines the famous artistic motif on the silver phiale with gilt from the Rogozen treasure. The author adduces a number of examples from Greek art that are variants of the motif “man pulling a woman towards himself, eager to undress her” that probably depicted the violation of Athena’s priestess Auge by Herakles in Tegea. Analysing the images, the author notes a number of differences between the image on the phiale from Rogozen and its Greek parallels: e.g., that only here the drunken Herakles has not grabbed the woman, but she is supporting him. This leads to the conclusion that the motif from Rogozen does not simply imitate the Greek models, being actually a specific interpretation of the scene. This is a Thracian rendering of the scene, which is at the same time the most representative one for that artistic theme. The exceptionally high quality of the work is not in the least indication that it was Greek execution, bringing instead yet another proof of the flourishing of Thracian art and workmanship in processing gold and silver.

COUNTERCULTURE VERSUS MAINSTREAM

Author(s): Felix Nicolau / Language(s): English Issue: 2/2012

The Beat Generation is deeply rooted in the message of the American Transcendentalists. Therefore, tradition is present in a subtle way even in the literary-artistic movements. Counterculture is not similar to underculture – and therefore it is quite natural for it to include a tradition which clearly moves away from the mainstream.

Muzy w intymnym świetle. O przemianach w sztuce Odwilży i Października

Author(s): Marek Hendrykowski / Language(s): Polish Issue: 13-14/2009

The study assesses the changing nature of the Polish art in the period of liberalization after Stalin’s death. It includes detailed analysis of various (social, political, philosophical and especially aesthetic) implications for important issues such as: poetry, drama, cinema, peinture, sculpture, song, popular culture etc. Marek Hendrykowski provides case studies that lead to alternative ways of viewing current conceptual frameworks of aesthetics and its consequences for interdisciplinary reflexion on arts.

Transitions Online_Around the Bloc-Moscow Honors Scholarly Peer Reviewers

Author(s): TOL TOL / Language(s): English Issue: 05/30/2017

Quirky new monument unveiled in the Russian capital is in all likelihood the only piece of art anywhere dedicated to a neglected band of academics.

Rahvuste kujutamine klassikalises balletis

Author(s): Triinu Upkin / Language(s): Estonian Issue: 13/2016

Classical ballets are performances created in the Russian Empire during the second half of the 19th century, many of which are still performed all over the world. This article studies how different nationalities are represented in these performances. My hypothesis is that the imperialistic and orientalistic views on representing nationalities present in classical ballets do not derive from the narratives created in the 19th century as much as they come from the physical forms of ballet itself. I argue that those stereotypes in representing nationalities have not only become fixed in the forms of classical ballet but, furthermore, the physical form of the genre and the declaration of the superiority of white Mid-Europeans develop hand in hand. The more beautiful the white ballerina, the dumber looks the moor beside her. I examine the genre of ballet, the performances and their elements as texts and approach them with the method of textual analysis. To study the representations of nationalities, I explain the essence of ballet’s means of expressions and their historical evolution: languages of movement, dancing body, music and choreography are being observed separately. Thereafter, I analyse six classical ballets in which the representations of characters’ nationalities are important („Don Quijote”, „La Bayadere”, „“Corsair”, „Raymonda”, „Swan Lake”, „The Nutcracker”) and present a short summary of their librettos. The article is based on my master’s thesis Representations of Nationalities in Classical Narrative Ballets (Tallinn University’s School of Humanities 2015, supervisor prof. Mihhail Lotman).

Българската филмова индустрия: „слънцето и сянката“ на прехода. Пазари, политики, дефицити

Author(s): Bilyana Tomova / Language(s): Bulgarian Issue: 3/2014

Object the present study is the Bulgarian film industry, the subject of the analysis are the crises in its genesis during the transition. The main research hypothesis is that crises have a form of market and non-market failures, and are a reflection of the specificity of the product, the national cinema market and cultural policy during the period under review. And part of the defects are a reflection of the global crises of the emergence of new business models related to digitalization. In the course of the study outlined the paradox in the Bulgarian film industry: a serious economic contribution of macro level (value added, employment, number of firms), in combination with the instability of micro producer companies and monopolized and integrating markets of distribution and exhibition. As a result-limited access of the audience and the low efficacy of film production. Output from this harrowing development through crises are transformations-transformations to new business models through new sectorial policies

KONCERTY SZWAJCARSKIEGO CHÓRU „MOTET ET MADRIGAL” W POLSCE W ROKU 1923 W ŚWIETLE PUBLIKACJI PRASOWYCH

Author(s): Joanna Sztejnbis-Zdyb / Language(s): Polish Issue: 5/2016

National values were the particularly exposed element of Polish music of interwar period. It clearly fited into the model of state education which was strongly promoted those days. National problem remains in the circle of keen interest in music criticism. Polish music of the Renaissance tried to present it as a discipline that was comparable to European music in terms of values. An image of Poland was formed as of a country with a rich and old cultural tradition. This thesis was willingly used by the politicians which is confirmed by music related critical articles concerning performances of Swiss chamber choire “Motet et Madrigal” in Poland in April of 1923. Choire was founded by the eminent Polish com- poser and conductor Henryk Opieński. This article is an attempt to analyze reviews, which appeared in the press during the tour of the ensamble. Those reviews were published by the newspapers of Cracow, Warsaw, Poznań, Łódź and Bydgoszcz and have been analyzed by the author in terms of their musical as well as political references.

Iнтэрпрэтацыя фiласофскай праблематыкi класiчнай i сучаснай беларускай драматургii ў тэатры

Author(s): Kryscina Smol'skaâ / Language(s): Belarusian Issue: 8/2016

In the article the philosophical problems of the classical and modern Belarusian dramaturgy are analyzed. The author reveals continuity and distinctness of aesthetics of a new generation of authors. She also analyzes the features of a director’s drama reading in modern Belarusian theater: directors preserve the tradition of psychological realism, develop the forms of national metaphorical theater, make use of the elements of post-dramatic theater.

The Efficiency of Slovak Universities: A Data Envelopment Analysis

Author(s): Matúš Kubák,Radovan Bačík,Zsuzsanna Katalin Szabo,Dominik Bartko / Language(s): English Issue: 30/2014

We run Data Envelopment Analysis to study technical efficiency of faculties in the Slovak Republic. Our dataset come from Academic Ranking and Rating Agency. Inputs for our analysis are Education, Attractiveness of study and Doctoral studies. Output variables in our study are Research and Grants. Our finding shows that there exist serious differences in effectiveness of faculties. The most serious imbalances are within Economic Sciences group, Technical Sciences group, Theological Sciences and Group of Arts. On the other hand, the most balanced situation is within the Natural Sciences group, Medical Sciences Group and Agricultural Sciences Group.

Названия на музикални инструменти в българската средновековна книжнина

Author(s): Kalina Micheva-Peycheva / Language(s): Bulgarian Issue: 1/2017

The system of names of musical instruments and their semantic realizations in the history of Bulgarian literary language are examined in this academic paper. The linguistic facts of old Bulgarian manuscripts and Bulgarian dialekts are used. The system of names and its distribution in different contexts are analyzed.