We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Reviews of: IZGLEDA, DRUGOG PUTA NIJE BILO ROMAN IZ NOVIJE EUROPSKE POVIJESTI - Novi roman prof. dr. fra Šimuna Šite Ćorića (Šimun Musa) PREISPITIVANJE UMJETNIČKE INTERVENCIJE - Uz prostornu instalaciju Marijane Pažin-Ivešić na Filozofskome fakultetu (Srećko Križan)
More...
Continuous valuing of the national and universal cultural heritage as well asinterculturality determines human development in the society and provides a perpetualhumanization and culturalization of the ethnic personality. Folk art values and theirinfluence on the cultural, spiritual and moral-ethical formation of the human being in thesociety create the synthesis concept of popular pedagogy
More...
“Fortuna” u stečaju – odmah nakon odluke, 217 radnika ostalo bez posla, ostali strahuju za svoju budućnost. Po svemu sudeći, golemi problemi ove najmnogoljudnije proizvodne firme u Gračanici (preko 1.200 zaposlenih), koja se smatrala vodećom kompanijom u obućarskoj grani u BiH, nakon otvaranja stečajnog postupka, kulminirali su sukobom nezadovoljnih radnika i menadžmenta, blokadom firme, čak i fizičkim obračunom, koji je srećom prošao bez težih posljedica. Vijest o stečaju i zaoštravanju situacije u javnosti je dočekana sa iznenađenjem, jer su problemi ove fabrike godinama “trpani pod tepih”, pored ostalog i u uz podršku politike i struktura vlasti…
More...
Whether we speak about guns, pots, lighting or toilet objects, late-ancient toreutics on the territory of the provinces from the north of Danube – Dacia and Scythia Minor – is one of the decorative arts in which the phenomenon of interpenetration of the two eras that shake hands now (ancient and medieval) again proves that this age is self-reliant. Consequently, Late Antiquity is a period of transition on the territory of Romania, also, but an actual one, at least from an artistic point of view in which the stylistic vision combines the research of the end of Classical Antiquity with the Paleo-Christian transformations regarding shapes, decorations, destinations
More...
Review: Melancholia i poznanie: ‘Autobiografie’ Elizy Orzeszkowej [Melancholia and Understanding: Eliza Orzeszkowa’s ‘Autobiographies’], ed. and introduction by Danuta Danek, photography by Krzysztof Hejke, Terra Nova, Warsaw 2014
More...
Review: Beata Łazarz, Płeć przerażającego: Wizerunki terrorystek w sztukach plastycznych [The Gender of That Which Terrifies: Images of Women Terrorists in the Visual Arts] Wyd. Instytut Sztuki Pan, Warsaw 2016
More...
The present article involves a diachronic qualitative study of how music therapy is framed in scientific articles published in “Dementia”, an international peer reviewed journal regarded as a major forum for social research in dementia. The aim of the study is to elucidate how the framing of dementia is represented diachronically in “Dementia” over the period of ten years, from 2008 until 2017. The corpus of the study is comprised of 13 scientific articles published in “Dementia” in 2008-2017. The results of the qualitative framing analysis indicate that music therapy is framed in “Dementia” by means of the following frames: “Aggression”, “Agitation”, “Caregiver”, “Nonpharmacological Intervention”, “Quality of Life”, and “Social Ecology”. These frames are further analysed and discussed in the article.
More...
In this article Dauksza explores realism as an operational concept that not only helps to describe a given work’s intratextual/visual reality in an effective way, but that also allows to describe the relationship artist-work-viewer-reality, the tensions that indicate the direction of the reception process, the artist’s/viewer’s dependence on the work’s materiality and the context of the cognitive situation. Dauksza proposes the term ‘affective realism,’ which she uses to analyse Joanna Rajkowska’s artistic practices. According to Dauksza, Rajkowska uses the laboratory method of arranging the exchange field in order to observe the emerging and thickening network of connections, in order to let tensions materialize and to stage the metaphor of difference.
More...
The article is devoted to actual issues of contemporary art, namely the analysis of embodiment of Louis XVI style in interiors of the XVIII century, modern interiors, as well as its formation and development, and art history, for example, porcelain products of Sèvres manufactory of the XVIII century, during the reign of Louis XVI.The concept of identity is present in both art history, architecture and design. Any style can be manifested in three aspects. Field of their impact on the viewer developes in different means of expression and in excellent toolkit in common artistic language namely products of Sèvres Porcelain Manufactory of XVIII century in Louis XVI style are found in many palaces in the world. They represent a style of the same name that came to European countries with fashion at all French. Unfortunately the French Revolution of 1789 brought a change in government and changes in the artistic life, not allowing the style of Louis XVI to develop and left him as a kind of memory of the royal times.The style of Louis XVI is quite widespread in Europe, so its elements are met in the most famous palaces all over the world. We meet valuable Sevres porcelain manufactory objects in the royal castle Rothschild in Britain, a pair of vases for interior decoration, night pots, sets dejeuner and others. Huge collection was by gathered Britain King Henry IV. It is the most sophisticated and most expensive precious collection of porcelain, Designed for intimate use (dejeneur, cups and saucers ) and huge vases that served for decor, giving to interiors a theatrical and solemn mood [12].Over time, the style of Louis XVI became certain metamorphosis being used in the interior. It is divided into a vintage – provace, used mainly for buildings outside the city and it is typical for the preservation of classical forms in the style of Louis XVI, using inexpensive materials. Another manifestation of it is the kind of luxury – lavish palaces, built in the last century, people continue to gather for celebrations, and so adorned at the appropriate level. For example, recently distributed fashion for this style – in particular, we can see the band Sevres porcelain in the Russian Kremlin. Sevres porcelain has become an emblem of its time and of royal status, so it often becomes a cherished part of high level public and private collections, and also decorated private apartments and rooms.Ukrainian Public collections not comprise a large number of units of products, especially those that can be attributed to the style of Louis XVI . Private collectors are not willing to disclose , and the story keeps a certificate of destruction of cultural monuments later, the October Revolution, which greatly reduced the number of cultural values. So Gaile K. writes in "Protection of the Winter Palace": "Last defenders reported that the palace completely busy ... hrabuyetsya valuable historic property, tear the walls of tapestries, Sevres porcelain beat expensive ...". Unfortunately , this situation in Ukraine was global and preservation of cultural and historical and artistic treasures was almost impossible.Collectors of all time has always sought to bring to his most significant collections of masterpieces of world art. Products Sèvres Porcelain Manufactory allow both contribute to the beauty, but also get a thing that is produced by royal request and was the personification of all the stylistic features of the relevant time.In the XVIII century. fashion to interiors asking kings. The bourgeoisie imitated the style of the interior, trying to give it the best possible grace. In modern France, tends to play styles of past eras in the design of the apartments. Although it is a common trend is not an imitation of the royal style of the XVIII century. Or more so -called style " Provence " , due to lower prices and therefore more popular.Characteristic of this is the use of interior furniture XVIII century. or nineteenth century, because in these ages have much in common . The furniture and decor items to create the style of Provence , usually purchased at antiques markets or in shops that offer its imitation. The main focus of the style of Louis XVI – starovynnist , sometimes excessive , rendering objects old charm, attraction to vintazhnosti use of specific forms of the time, their refinement [17].The guiding theme of the XVIII century, was the style of Louis XVI, his features are a large number of parts, the use of elements such as volutes medallions and imitation of natural forms. Also, it is inherent in the desire to preserve harmony between form and color, softening the overall feel of the interior, refinement and elegance shapes, lots of light, lots of space filling parts [15].Each subject , taken from the rest of the interior is also reflected in itself all the features of the style of Louis XVI, were no exception and porcelain. Instead, they embody in themselves the greatest number of all possible elements of this style. The most striking creations of porcelain objects were then Sèvres porcelain manufactory, which belonged to the French King Louis XVI.
More...
Article is devoted to the artistic processes that took place in Ukrainian circus space late XIX – early XX century, marked features of development Ukrainian circus on stage under consideration, clarified the impact of foreign and domestic owners of circuses on the further development of circus art in Ukraine.For modern Ukraine characteristic process becomes a significant increase of interest to the study of domestic creative heritage in various fields of artistic culture, particularly the rapid development of Ukrainian circus art and lack of investigation of national circus history, making actual searches in the genesis of Ukrainian circus art at different stages of its development.Source of information about Ukrainian circus XIX century are monographs by R. Slavskyi "Vitaly Lazarenko" (1980) and "Nikitin Brothers" (1987), O. Talanov "Durov Brothers" (1971), J. Greenwald "Russian bogatyr Ivan Piddubny", D. Zhukov "Ivan Piddubny" (1975). In works by S. Makarov "Circus theatralization" (2010), N. Matveev "Boris Manzhelli" (1983), P. Tarahno "Clown`s Life" (1963) provided the reconstruction of circus pantomimes, which were shown on Ukrainian arenas in the period since the end of XIX – early XX; the information of the development of individual circus genres, analysis of Beskorovayny, Zlobin, Drotyankin, Vyalshin, Truzzi, Sura circuses` work etc. Valuable research is devoted to the history of the circus in individual cities of Ukraine (works by M. Rybakov "Kyiv Circus: the people, the events, the fate" (1995), J. Ryabinkin "Odessa Circus" (1979), N. Shcherbakova "Kharkov Circus" (1983)). The source of information about domestic circus of this period is periodical publications: "Divertissement", "Soviet Circus", "Soviet music and circus", "Stage and arena."Despite the fact that some aspects of the development of Ukrainian circus XIX – beginning of XX were considered in this research field of artistic culture, there is currently no work devoted entirely to the study of major artistic processes, which inherent to domestic circus indicated period. Thus, the aim of the article: to determine the characteristics of development of the circus in Ukraine (XIX – beginning of XX).By the beginning of the XVIII century elements of circus art could only be found in the performance of skomorokhs, because in Ukraine there was no permanent circus. Due to the decrease of state and church pressure clowning was reborning in folk festivities, booths, and in the early XIX century traveling circuses and menageries appeared.Significant contribution to development of the circus business in Ukraine made representatives of families the Godefroids, the Truzzis and the Surs, whose activity made it possible the familiarization the Ukrainian audience with the best of European circus arts.At the end of the XIX – beginning of XX century in Ukraine were opened new establishments: J. Godfrey`s show booth (1857), Vittorio Circus (1862) A. Pankratov and I. Bondarenko`s Circus (1865) in Odessa, Bergonie`s Circus (1875) and "Horse Palace" (1903) of P. Krutikov in Kiev, circus Mussoorie (1911) in Kharkiv etc. Besides stationary, on the territory of the Russian Empire, and particularly in Ukraine, there were about 100 traveling circus (the most popular were entreprises of Salamonsky, Sur, Welle, Chinisello, Godfrua and Nikitin Brothers).Creative crisis of circus art has led to the convergence of circus and variety. This process, on the one hand, promote the absorption of the specifics of the circus, on the other hand, circus performers, adapting to the conditions of variety site had to find some form of contact with the public, to develop new tricks and strengthening element of dramatization circus number.Summing up the above, I’d like to emphasize that in the article it is impossible to consider in detail the specificity of development of circus art in Ukraine (XIX – beginning of XX century), and therefore remain relevant further research and serious study of a certain stage of Ukrainian circus history.
More...
The paper presents the realizations of the theme of concentration camps in folk art, i.e. the sculptures made by Władysław Chajec, Zygmunt Skrętowicz, Franciszek Skocz, and Jan Staszak. Chajec and Staszak tried to present the most drastic moments in the history of the Nazi death factories. These sculptors drew inspiration from the popular iconography of the Holocaust, i.e. pictures showing the liberation of the camps. Skocz carved a cycle of figures that represent members of the SS and prisoners who are doing labor and who are being subjected to punishment, whereas Staszak decided to create his works by using wood from the trees growing on the borders of the Auschwitz-Birkenau camp, thus treating these plants as witnesses of suffering. This article presents the aforementioned works against the background of the crisis of representation, which permeates culture after the Holocaust.
More...
This article proposes an interpretation of Rembrandt’s Self-Portrait as Zeuxis Laughing (Wallraf- -Richartz Museum, Cologne) as it appears in Tadeusz Różewicz’s poem Mirror. The 17th-century Dutch artist was known as a painter who portrayed the human body as it really is, i.e. with all its imperfections and changes that are brought about by the passage of time. He has also been regarded as a master who expressed the disappearance and decay of form (Simmel) and the anticipation of death (Malraux) by using an unconventional technique. Różewicz “appropriated” Rembrandt’s face to speak of the inevitability of getting old and dying, the limits of Logos and poetry as well as the powerlessness of a poet whose fatal destiny is to describe and testify to suffering. Rembrandt’s figure appears in a flash of light, but at the same time seems to melt into thick paint, to disappear, like the poet’s words on the surface of silence, thus suggestively representing the moment of the subject’s transformation and crossing the border between life and death, the artist’s withdrawal from the world and last breath as well as the limits of literature, i.e. the loss of discourse. In this poetic epiphany, Rembrandt is – let us refer to Harold Bloom’s famous concept of apophrades – the great dead returning in Różewicz’s work.
More...
With help of such well known scholars of visual culture as T. Mittchel, M. Jay and V. Flusser, the author examines the phenomenon of the visual turn, shows how and why twentieth century philosophers and scholars are interested in visual culture, and how visuality conquered various sociocultural spaces. Interfaces between the pictorial turn and privileging of vision over the other senses (ocularcentrism) and the new technologies are analyzed. The visual turn should not be understood as a mechanical copying of reality or an act without creativity. Thus, the author highlights the differences between the ancient theory of mimesis and the present concept of the visual. The present concept does not represent a return to a traditional theory of adequacy, but rather it represents a re-discovered post-linguistic image created by interaction of the imagination and visual and visible reality. Interfaces among popular visual studies and various social sciences and humanities are analyzed; their testing problems and methods are highlighted. The author concludes that the attention of scholars on visual studies and the rousing of new visual studies programs at various universities and high schools is connected with the domination of the visual aspect in contemporary culture and to the rapidly growing need for specialists who could work in various fields of visual culture. The author argues that visual studies is an interdisciplinary phenomenon, but it could be treated as a separate discipline having a rather studio nature. The aim of visual studies is to create and present theories to help understand how images function in the wider culture.
More...
Today’s theatrical art sometimes utilizes modern electronic technologies of visualisation that may be, especially if we use a certain amount of simplification, generally defined as “video”. This kind of technology consists of acomplex set of devices: shooting cameras, recording devices, trick equipment, broadcasting devices, screens. Theatrical mise en scènes once used to involve film; however, mostly before the emergence and refinement of digital video technologies. It is beyond any doubts that compared to film, video has many advantages – one of the most significant of these advantages is the fact that video technology allows to provide simultaneous online streaming of both image and sound. In case creators and producers of a theatrical mise en scène decide to use such a technology, they tend to favour it over the theatrical elements, which may lead to a shift from mimesis towards virtualisation of the performed spectacle. On the other hand, classic theatre, along with its long-term tradition and solid forms, is a strong, persistent sphere of art; even the video is rarely able to prevail and change the scenic reality into a virtual, abstract electronic world. We have decided to discuss these theoretical notions in relation to the theatrical mise en scène Fanny and Alexander by Ingmar Bergman, which was directed by Marián Amsler and performed at the Slovak National Theatre in 2016. Our analysis reflects on the forms of hybrid convergence merging theatrical art and video art in this particular case. However, as the conclusion suggests, video art and its technological possibilities may have influenced the mise en scène’s overall setting, but the given theatrical workwas able to preserve its own integrity without sacrificing any part of the true nature of theatre as such.
More...
In this article we review, characterize and describe the significance of collection of songs and songbooks of the Ukrainians of Romania of the second half of XX century as a source of study of modern folklore. There were distinguished the figures of researchers of regional folklore during the mentioned period, and noted the contribution of folklore specialists into preservation, research and popularization of folk music of the Ukrainian Diaspora in Romania.Social-political and socio-cultural conditions of existence of Ukrainian people during the last two centuries have caused their mass emigration from native land, change of the status of autochtonal population to marginal national minorities of other countries, including neighbouring Romania. If on the territory of Maramures the Ukrainians were autochtonal all through the ages, then to Banat and Dobrobuzh they emigrated during different times. Despite of strong assimilation and social-political processes, the Ukrainians in Romania till nowadays keep folk poetic works, songs in particular.History of culture pays attention to complicity and contradictions of modern folk process: on the one hand, it is possible to state gradual reduction of weight and place of traditional folklore in modern life of a person occurring dissimilarly as per type, genre, region, on the other hand – active functioning of many types and genres in non-traditional environment – on the stage and youth centers. Besides, folklore is capable of adaptation with other types of art. Folk process in Ukrainian environment on the territory of Romania reveals all these peculiarities.Publishing of some Ukrainian folk collected volumes and song books in Romania is observed in the second half ofXX century. Their authors were famous folklorists and regional ethnographers: Ivan Reboshapka, Myroslava Shandru, Oleksa Bevka and others. Publishing process of song books became significantly more active during the first decade of the XXI century. They were published by Oleksa Bevka, Mariia Chubika-Hryhorash. Unfortunately, the collected volumes contain only literary texts. Absence of musical notation in all the above mentioned works renders impossible their deeper music and folklore research, however, they played a big role in preservation and development of song folklore in Romania.Valuable are those collections that fix attention on both components of a song – literary text and musical notation. These are Christmas carols of Maramures [11], folk songs of Ukrainians of Romania collected and arranged by Ivan Liber [4] and Ivan Khlanta [3].Since the places of compact settlement of the Ukrainians in Romania border with Bukovyna, quite natural is attention of researchers to the cultural processes in Ukrainian environment on the both sides of the border. Kuzma Smal (1935-2012) is an example of long-lived experienced folklorist, ethnographic music expert, and composer. In collaboration with Romanian folklorist and ethnologist Ivan Kideshchuk from Suchava were published the song books "Song Treasures of Negostina" [5] and "Bukovyna, My Native Land" [1]. This rich song collection is a valuable source not only for folklorists, but also for ethnographers, art experts, historians. Original records have educational meaning for many admirers of folklore, directors of amateur groups, students.The most complete publication of songs of the Ukrainians of Banat that has generalizing and summarizing character is a collected volume by Ukrainian researcher from Zakarpattia Ivan Khlanta [3]. The collected materials (several hundreds of songs of different genres and about two thousand of kolomyikas) represent the songs of Zakarpattia as old as hundred years and demonstrate that "song art continues to remain important cultural achievement of the Ukrainians of Banatu that carefully keep traditional song heritage" [9, p.34].Thus, review of published song books of the Ukrainians in Romania of the second half of XX century proves existence of the significant set of the collected musical folklore of the region that is represented by different genres and represents vivid figures of folklore mediums. This rich original material has essential significance for study of folklore existence within modern epoch, transmission of folklore tradition, as the recorded literary texts and musical notations and audio records serve as a basis for deep research, comparison of life-style and preservation of genres during the long period of time, use of folklore in the modern concert practice by some performers, groups, choirs and as a source of composers’ creative work. Gathered folklore of one territory, repertoire of some performers – this is that material that helps us to disclose history of folk songs, wealth of its forms, rhythmic, artistic means deeper and well-grounded. The Ukrainians of Romania, despite of circumstances, preserve folk traditions, dialects and songs. Only these aspects can ensure preservation of national minorities in the complicated global XXI century. Thus, the published song books and collections of the Ukrainian folk songs not only present the certain view of existence of these works in modern Ukrainian environment of Romania, but also serve as an important source of comparative folk research and assistant material for enrichment of repertoire of acting artistic groups in Ukraine as well as in Diaspora.
More...
Forming multinational Ukrainian society is foreseen by the awareness of ethnic community, national values, language, territory and culture. The author of the article lights up the concept of ethnic belonging as a basic factor of social organization of ethnic variety of Ukraine. Feeling involvement of national associations to the construction of the state system and culture strengthens sense of patriotism and national dignity.
More...
Multiple tasking of images makes them a major component of the design of the book: they attract, retain and maintain the attention of readers, transport messages, support, complement, extend, clarify messages and information of the verbal text, build dynamic and powerful compositions, shattering uniform arrangement of texts, bear mood. Whether you are a main focus in the publication, or are complementary to the graphic elements, visual elements play an essential role in communication, vitalize the design and are important resources of the graphic identity of the book.
More...
This paper examines the use of visual feedback technology in the field of vocal pedagogy. This technology enables singers to “see” what their voices are doing while they are singing, by recording certain acoustic properties of their voice. It also analyzes the existing computer programs, designed to provide visual feedback on acoustic parameters of the singing voice and to investigate how such feedback can most effectively be utilized in the vocal pedagogy.
More...
Chinese theatre can be divided into modern and postmodern forms since 1949. The modern form of Chinese modern theatre is undoubtedly influenced by Western realism and modernism, which takes the script and the literature as the centre, and introduces the theory of modernism. It is represented by plays such as Tea House and Sang Shu Ping Chronicle. The postmodern form of Chinese modern theatre is influenced by the Western postmodern drama and Chinese opera: it is represented by three directors, namely Lin Zhaohua, Mou Sen and Meng Jinghui.
More...
