Short Notes on the Prosopography of the Byzantine Theme of Koloneia (Part I)

Author(s): Pantelis Charalampakis / Language(s): English,Greek, Modern (1453-) Issue: 2/2016

This study, the first part of two, presents short notes and comments on the officials of the Byzantine theme of Koloneia. Two Byzantine lead seals are published here for the first time. One belongs to Leon, krites of Koloneia, the other to Michael, anagrapheus and krites of Koloneia and Sebasteia. The lost inscription of Ioannes, droungarios of Koloneia is also presented here, together with a previously unnoticed reference to another droungarios in the Passio of the 42 Martyrs of Amorion. The lists of the kritai and strategoi of Koloneia are completed on the basis of recently discovered and published, but also unpublished evidence.

О крыльях и ушах в искусстве звериного стиля

Author(s): Valerij N. Saenko / Language(s): Russian Issue: 3/2004

The elements of decor of horse-bridle from burials of Steppe Scythia in form of “leaf-like” figures are examined. It is guessed, that sources of production of these articles, as by style and by technology, primary were situated aside of nomads` development of animal style and their semantic load was perceived, or by some way re-interpreted by Scythians already in practice of using. It is proposed to return to traditional treatment of these images as bird wings, because attempts, which exist in literature, to ground that they represent solitary ears of hoofed animal, have insufficient arguments.

Эволюция набора украшений муромской женщины (По материалам Подболотьевского могильника)

Author(s): Olga N. Enukova / Language(s): Russian Issue: 5/2002

Podbolotje cemetery situated at a distance of 12 km to the south-west from the town of Murom excavated in 1910 by V.A. Gorodtzov drew expert’s attention many times. Classification and division into periods of female adornemts of this cemetery are offered in the article. According to correlation of different ware types 5 stages in develorment of adornment set were distinguished (A, B, C, D, E). The stage B breaks down into three periods.Stage A. Haloes of type 1 (Fig. 1, 18), earrings of department 1, type 1 (Fig. 1, 26), beads made of red glass, plaque of type 2 (Fig. 2,15), sulgams of type 1 (Fig. 1, 35), spiral 7-twisted and round wire blacelets are specific for this stage. Temporal rings of department 1, type 2 (Fig. 1, 28), haloes of type 2 (Fig. 1, 20), noisy pendants of department 1, type 1 and of department 2, type 2 (Fig. 2, 10, 12), finger-ring of type 2A (Fig. 2, 6) appear.Stage B. Back pendants of type 2 (Fig. 2, 2), multicoloured glass beads are the common feature of the stage. Head straps of type 1 (Fig. 1, 23), grivnas of type 1 (Fig. 1, 31) are basically typical for it. White paste beads and sulgams of type 2 (Fig. 1, 33) appear at this stage. In the first period of stage B haloes of type 3 (Fig. 1, 19), noisy pendants of department 1, types 1 and 2 (Fig. 2, 10, 11), of department 2, type 2B (Fig. 2, 13), department 3, type 1 show up. Plaits of type 1 (Fig. 1, 28) are specific. Among earrings large murom type oh them predominate (Fig. 1, 24). In the second period head plaits are represented only with type 2 (Fig. 1, 24), earrings relate basically to the department 1, type 2B (Fig. 1, 28), grivnas of type 2 appear (Fig. 1, 32), umbo-shaped noise pendants of variant A are specific, side straps of, type 2 are widely spread. In the third period small earrings of murom type (Fig. 1, 30), plaques of type 1 (Fig. 1,4), haloes of type 4 (Fig. 1, 21), back pendants of type 3 (Fig. 2, 3), noisy pendants of department 3, type 2 (Fig. 2, 18), and bottleshaped pendants appear.Stage C. Haloes of type 4 (Fig. 1, 21) appear, head straps of type 2 (Fig. 1, 2, 5) are widely spread, earrings and noisy pendants are extremely various, back pendants pertaicyonly.to type 3 (Fig. 2, 3). White paste spherical beads are more .widely spread among glass ones,. Plaques are very popular, they are represented basically with type 3 (Fig. 2, 16), spiral bracelets of type 1B and finger-rings of type 2A and 2B (Fig. 2, 6, 7) are often met, foot-wear adornments of type 1 (Fig. 2, 21) are specific.Stade D. Adornment set becomes much more poor. Head plaits and straps, back pendants, and side straps vanish. Haloes are represented only with type 3 (Fig. 1, 19). earrings and beads are very.rare, blue, small beads are.specific among them. Bracelets are atill used, lamellar bracelets with unbent ends appearing. In the stage D noisy pendants of department 3, type 4 (Fig. 2, l’,4) are used, footwear adornments become more plain.Stage E. Finno-ugreian. adornments almost vanish, noisy pendants, earrings of a murom type and spiral finger-rings are very rare. Bracelet-shaped rings with tied ends, silver-glass beads, and lemon-shaped piercing appear. Lamellar bracelets with the ends in the form of beast head are spread.The absolute dates of stages are determined: A – the second half of the 6th – the beginning of the 7th centuries; B – the 7th – the beginning of the 9th centuries; C – the 9th – the beginning of the 10th centuries; D – the 10th century; E – the end of the 10th – the first half of the llth centuries. It is illustrative that in the 10th century (stage D) a smooth course of female adornment evolution gets broker and afterwards the ware popular in Slav culture starts to prevail. This phenomena demonstrates assimilation of autohtonic Finno-peshle by Slav migrants.

Образ вепря в иранской традиции — нарратив и визуализация

Author(s): Hanna V. Vertiienko / Language(s): Russian Issue: 3/2014

The image of a wild boar is a widespread motive in written and pictorial tradition of the Iranian people of Antiquity. In the Young Avestan texts the boar is the steady embodiment of Verethragna (Yasht 14, 15 (2—8). The same refrain repeats in Yasht 10, 70 (3—9) and 127 (2—8). In Yasht 10, 70 parts of the animal's body correspond to metal, which can be the image of the blade weapon (dagger/karəta-). Connection of a boar with the military sphere is traced during the Sassanian period in the “Memorials of Zarer’s son” (45). In the Iranian art of that period, the royal boar hunting motive gets a special spreading, that points to communication of this animal with all-Iranian royal representation of hvarn (xvarənah-). In the art of the Iranophone nomads, the motive of a boar gained diffusion on a weapon decor (a sheath of short swords and gorytos), bowls, and also on the topic scenes of hunting and fight. Images of boar on such objects were a marker of the highest social status of their owners in military hierarchy of the nomadic aristocracy.

Пектораль или гривна? (о соответствии термина и морфологии украшения)

Author(s): Leonid I. Babenko / Language(s): Russian Issue: 3/2018

The pectoral from Tolstaya Mogila mound was referenced to this category of adornments when it was found. However, pectorals were not so widespread with the Scythians and the genesis of this type of adornment is not quite clear. Direct succession from the Urartu pectorals is impossible due to a significant chronological gap. Thracian breast collars, which share with it many common features, are different by constitution and functional purpose. At the same time, many of the morphological elements of the pectoral from Tolstaya Mogila find many correspondences with the constitution of torques of that time: phony twisted cable-stitches, compositions of animal and human figures, and ferrules decorated with lion heads are among the most striking examples. This allows us to agree with numerous researchers who considered the pectoral from Tolstaya Mogila to be a kind of a more complex modification of torque, which the Scythians thought to be the most important insignia of a high social status of its owner. On the whole, one can notice influence of different traditions in this pectoral construction, which evolved among the local toreuts, and also the range of innovations which were borrowed from the Thracian and the Greek cultural environment.

Пара бронзовых ножей из музея г. Карс

Author(s): Svetlana S. Bessonova,Igor V. Bruyako,Necmettin Alp / Language(s): Russian Issue: 3/2018

The pair of bronze knives published here has engravings in animal style and is stored in the museum of Kars (Turkey). The knives were found in Van. From morphological point of view, such knives belonged to the antiquities of Scythian-Saka cultural world (8th—7th cc. BC). Ten other paired sets are known from the same time, while 3 more belong to a later period of the Scythian culture (6th—5th cc. BC). Animals engraved on blades make these knives exceptional, for such complex artistic compositions on blades and handles of knives and daggers are not typical for the early Scythian culture. This tradition should rather be connected with the eastern area of the Scythian-Siberia world of 9th—8th cc. BC. A preliminary analysis of the composition, style and iconography of the animal images and their choice suggests a combination of several artistic traditions, with Assyrian-Urartian and Caucasian (part of Western Asian too) traditions prevailing. The animal style can be manifested in the following ways: side-view images, hawk-nosed ungulates, a big eye, ear and horn combined within one visual element. Zoomorphic and anthropo-zoomorphic beings combined within one linear composition is a common feature for the Kars knives and Kelermess-Sakkyz products manufactured by some local craftsmen, whether for the Scythian leaders during their presence in Western Asia, or for some other Iranian ethnic groups.

Creative Use of Sound in the Cinematic Adaptation of The Great Gatsby

Author(s): Lidia Kniaź / Language(s): English Issue: 1/2016

Sound design in film, described as “sound editing viewed artistically or aesthetically in terms of the shaping of the sound track in a film” (Buhler 2009, 430), is by definition a creative process demanding from its producers a great deal of inventiveness and aural imagination. Surprisingly, if one assumes that creativity is the key to successful sound design, it seems that very few contemporary soundtracks can be called successful at all. The goal of this paper is to examine the art of sound production in Baz Luhrmann‘s The Great Gatsby (2013) in terms of its creative use of sound. The analysis will focus on scenes from the movie in which sound does more to the overall impression and interpretation of the film than merely confirm the story that is told. Meanings of sound sequences in The Great Gatsby will be examined by in juxtaposition with selected plot elements. The sound in Luhrmann’s production is creative mostly because it serves unique and unexpected functions that make it different from what seems to be the usual cinematic practice. It correlates with images in an innovative way, plays with diegetic vs. non-diegetic distinction (which is applied in the score analysis), and creates certain sonic spaces through skillful editing. All these “subtle-but-meaningful cinemusical details” (Holbrook 2011, 252) allow for interpreting the film in contemporary contexts.

Educational and scientific value of the Museum collection for Teaching of Art History at the History and Philology Faculty of the Higher Women’s (Bestuzhev) Courses in St. Petersburg – Petrograd at the Turn of the XIX-XX Centuries

Author(s): Oksana Vakhromeeva / Language(s): English Issue: 1/2018

The article is devoted to the creation and functioning of the museum collection of the History and Philology Faculty of the Bestuzhev Courses, connected with the educational and scientific activities of the girl-students. The author analyzes archival and published sources on the history of the educational institution. The problem of staging seminars on the history of art is considered from the practical point of view, as they allowed scientists in pre-revolutionary Russia to acquire the necessary vocational training for the first graduated women.

Guess Who’s Coming to Dinner: Race, Ethnicity, and Women’s Choices in Something New and My Big Fat Greek Wedding

Author(s): Anca-Luminita Iancu / Language(s): English Issue: 1/2017

The movies My Big Fat Greek Wedding (2002) and Something New (2006) interrogate various ethnic and racial traditions and expectations concerning interracial and intercultural relationships from the female perspective. The two romantic comedies illustrate how the female protagonists’ decisions to date and marry men outside their ethnic and racial communities create tension and resistance among their family members and circle of friends, revealing an array of cultural and racial differences. By looking at the subtle ways in which these movies depict the challenges posed by interethnic dating/marriage in terms of gender, race, class, and ethnicity, especially in the female protagonists’ family environment, this essay sets out to explore how the protagonists’ choices to transcend cultural and racial borders may represent a new attempt to assuage the concerns regarding the complexity of interethnic relationships by including the option of individual female choice and agency.

LA CORNEMUSE BULGARE GAIDA ET L’IMAGE DE LA BULGARIE AUX TROIS EXPOSITIONS INTERNATIONALES À LA FIN DU XIXe SIÈCLE

Author(s): Svetlina Denova / Language(s): French Issue: 2/2018

The article examines how Bulgaria presents itself at three international fairs in the end of the XIX century by the means of a single music instrument – the Bulgarian bagpipe “gaida”. At the first Bulgarian fair of agriculture and manufacture in Plovdiv (1892), the bagpipe symbolizes only the traditional Bulgarian music and dance. One year later, at the second fair, discussed here, the so-called Chicago Fair (1893), Bulgarian bagpipe is already one of the specific Bulgarian symbols. At Paris Universal Exposition (1900), Bulgarian bagpiper is a “type” – an artistically elaborated subject that presents Bulgaria as a modern country that tries to preserve its identity by respecting in a great extent its traditions. The text proposes a hypothesis why Bulgarian bagpipe has such a significant place in the way Bulgarians imagine themselves as such.

Reisetagebuch Breslau/Waldenburg Juli 2015

Author(s): Karl Heinrich Ehrenforth / Language(s): German Issue: 6/2017

« Le Buisson Ardent de la Vierge ». Une lettre et une icône

Author(s): Codrina-Laura Ioniță / Language(s): French Issue: 1/2018

”The Burning Bush”, a symbol of epiphany, a place of getting out of the hiding place, of ”revelationi”, of the sacred moment from Horeb Mountain, when God first spoke to Moses, becomes the emblematic image for the spiritual movement with the same name, launched in 1943 by Sandu Tudor at Antim Monastery, Romania. The icon ”The Burning Bush of Virgin Mary” brought to Antim by the monk Ioan Kulîghin, was almost always present at the group’s meetings, being the embodiment of the passion for knowledge and divine experience. A sign of the appearance of the sacred among secular things, the image of the Virgin Mary in the middle of the burning bush which does not destroy, but brings to salvation, is re-used in contemporary iconography, in works ylddfsdnfwhich confesconfesss the same passion for the heavenly Country.

Соціальна обумовленість розвитку української театральної освіти у період національновизвольних змагань 1917–1921 років

Author(s): Roman Mykolayovych Yasipenko / Language(s): Ukrainian Issue: 17/2010

Протягом 1917 – 1921 років українська культура і мистецтво розвивалися за умов, коли в державі точилася гостра революційна і воєнна боротьба між різними політичними силами.

Arról, hogy milyen ketrecbe tessékeljük színész barátainkat

Author(s): Ildikó Ungvári Zrínyi / Language(s): Hungarian Issue: 2/2018

In her essay Ildikó Ungvári Zrínyi analyses through the creative praxis and writings of Ukrainian director Andry Zholdak how the terms of animal and „becoming animal” appear in theatre, placing these terms in the broader context of the 20th and 21st century pedagogy of acting. The mentioned topic is elaborated through the critical analysis of the institutional construction of repertory theatre and directorial theatre.

Pseudochorałowe śpiewy Benedicamus Domino w rękopiśmiennych kancjonałach krakowskich ss. bernardynek

Author(s): Andrzej Edward Godek / Language(s): Polish Issue: 01 (36)/2018

The Archive of St Joseph’s Convent in Kraków contains a collection of musical manuscripts, which have not been studied before. Among books of liturgical use, such as graduals and antiphonaries, there are also small cantionals, full of canto fratto repertoire. The majority of these sources originate from the Convent of Bernardine Nuns in Kraków; however, there are also at least two manuscripts from the Convent in Wilno. The aim of this paper is to present canto fratto repertoire of Benedicamus Domino found in the 18th and 19th century liturgical manuscripts from the Convent of Bernardine Nuns in Kraków. The author indicates sources of studied melodies based on the wide range of liturgical manuscripts from the 18th and 19th centuries – especially from convents of Bernardine Nuns in Poland, as well as from the Convent of Benedictine Friars in Staniątki – and compares it to the dispersal of canto fratto settings of ordinarium missae. Finally, the paper presents complete index of Benedicamus Domino melodies in the annex.

Apolinary Kątski jako cudowne dziecko

Author(s): Ewa Chamczyk / Language(s): Polish Issue: 01 (36)/2018

Infant prodigies were a common phenomenon in the 19th century. They astonished the audience not only through their impressive abilities, but also the innocent beauty and the youthful grace. The perfect example of this is Apolinary Kątski (1826–1879), a violin virtuoso and a composer, known mainly as the founder of the Institute of Music in Warsaw, who, since he was three, was recognizable in concert halls all over Europe.According to the author, the early stage of the violinist’s activity requires more attention. The presented article sketches the path of young Apolinary’s life from the moment of his first performance in 1829 to May 1838, when he was granted with the famous recommendation of Niccolò Paganini. It introduced him to numerous concert halls of Europe and positively influenced his further artistic activity. The hereby presented paper makes an attempt to find out the date and place of birth of Kątski in the context of the rich musical activity of his family members. It also shows the first artistic tours of the young virtuoso against the background of his artisti-cally talented siblings: a violinist Karol, pianists Stanisław and Antoni, and a singer Eugenia. The crucial mo-ment are reflections on the stay of the family in Paris and their first performances in the musical centre of Eu-rope as well as contacts of the young violinist with Niccolò Paganini.The studies on the correspondence of the father of the virtuoso, Grzegorz Kątski, and research on the foreign newspapers let the author reconstruct the life of Apolinary Kątski in the very first stage of his musical activity and place him in the context of infant prodigies of the 18th and 19th centuries.

Wirtualna harfa Bacha

Author(s): Adriana Kretkowska / Language(s): Polish Issue: 01 (36)/2018

In his projects, Alexander Chen (b. 1981) unites experiences as a programmer, designer, violist and indie rock musician. His Baroque.me is a virtual, audiovisual interpretation of canonical Prelude from Cello Suite No. 1 BWV 1007 by Johann Sebastian Bach. Like most of Chen’s projects, it is based on the code which he wrote in 2011. The fruit of the code is – in his own words – “a virtual string instrument”, “an interactive plucked instru-ment” or “an impossible harp” that is out of classification in terms of traditional typology of musical instru-ments. Grounded in mathematical fundamentals of musical string, it presents them in an attractive manner and unveils hidden geometrical beauty of well-known items.Baroque.me could seem to be too traditional, nostalgic and naive, lacking in deeply critical approach towards postmodern society and deeply attached to premodern understanding of beauty. Its user-friendly interface, ap-pearance typical for contemporary websites and elements of gaming suggest that Chen’s work is made just for entertainment. However, it is exquisitely interesting as an example of contemporary phenomenon, which Paul Elie called “reinventing Bach”. Baroque.me merges various layers of Bach reception: romantic, modern, and finally postmodern, which connects intimacy, entertainment and – characteristic for Bach himself – fascination of science and new technology. Two possible modes of contact with the Chen’s work, that is passive contempla-tion of the old masterpiece and/or (inter)active disruption of its harmony, can be associated with the ethos of the net artist who uses new technology to entertain people and provide intellectual reflection at the same time.

Teoria żywej kultury: źródła i powody jej powstania

Author(s): Barbara Fatyga / Language(s): Polish Issue: 3/2017

The aim of this article is to present determinants and sources of my original culture theory. The theory derives from interest in contemporary transformations of cultural reality. Its basic concept is the one of living culture.

Dlaczego trudno brać kulturę na serio?

Author(s): Rafał Drozdowski / Language(s): Polish Issue: 3/2017

The article is an attempt to show that the most important reason for the distrustful attitude to culture, which is the participation of many political and economic decision makers (but also broad circles of potential recipients of cultural offer) is the co-existence of various criteria legitimizing culture and various attributes assigned to it. This situation creates numerous tensions, of which the most spectacular is of course the tension between the pursuit of instrumentalization of culture and striving to maintain and expand its autonomy. Perhaps the only way to eliminate this tension is to give up thinking about culture as a stimulus for socio-economic development and to recognize it as a voluntary cost borne by society that does not have to pay. It seems that it is only with such an assumption that it becomes possible to democratize of culture and culture democratization.

Poszerzanie bez uprzedzeń. instytucje lokalne i podziały społeczne w nowym dyskursie o kulturze

Author(s): Przemysław Sadura / Language(s): Polish Issue: 3/2017

In the first part of the article the reconstruction of a new polish discourse on culture is presented and the most important topics and central concepts of this debate are carefully discussed. Then, the different internal contradictions and weaknesses of the program of “widening the field of culture” are listed. They concentrated on two major issues: omitting the class dimension of cultural (non)participation and ignoring the role of public cultural institutions in local communities. As a result of critical analysis of the discussed articles and research reports a new program of research on cultural participation is proposed. The new program intends to supplement the discussed approach by setting up methodology of ethnography of public cultural institutions and class differentiation of cultural practices. The program is not only discussed in the form of theoretical and methodological thesis or assumptions but also presented as case study of its implementation in author’s field research that was a part of study of harvest events organization in Northern Poland (Warmia).