Filmska umjetnost o Isusu Kristu

Author(s): Petar Jeleč / Language(s): Croatian Publication Year: 0

Isus iz Nazareta kroz stoljeća je izazovna i neiscrpna tema mnogim umjetnicima, piscima, teolozima i običnim ljudima. Isusov lik je upravo zbog te svoje izazovnosti i kontroverznosti, prouzročio mnoge polemike i krize unutar kršćanske zajednice koje su se onda morale rješavati na crkvenim saborima. Kalcedonski koncil je 451. godine dozvolio prikazivanje Isusova lika u umjetnosti, a cijela priča o ikonoklazmu riješila se 787. g. na II. Nicejskom saboru čijim su odlukama umjetnici ohrabreni da mogu slobodno prikazivati Isusov lik.

Sakralni prostori gučogorskog samostana u drugoj polovici dvadesetog stoljeća

Author(s): Mirko Jozić / Language(s): Croatian Publication Year: 0

Referat predstavlja likovni aspekt djelovanja franjevaca od polovice dvadesetog stoljeća do danas. U središtu pozornosti su sakralne građevine i njihovi interijeri jer se u uređenju sakralnih prostora uzajamno prepliću i dopunjaju vjera u Boga i povjerenje u čovjeka – temeljna odrednica života i rada franjevca. Uređenje sakralnih prostora gučogorskog samostana u naznačenom može se podijeliti na dvije faze. Prvu fazu čine sedamdesete i osamdesete godine dvadesetog stoljeća kada su u većini crkava i kuća učinjeni veliki pomaci: nastala su dobra interijerska rješenja i stvorene su jezgre mogućih budućih zbirki u samostanu i po kućama. Rat je prekinuo sve poduhvate i nanio neprocjenjivu štetu. Druga faza počinje nakon rata i traje cijelo prvo desetljeće novoga stoljeća: nju karakteriziraju nesustavno prikupljanje umjetnina i parcijalni zahvati u sakralne prostore. Nastaju velike zbirke umjetnina bez velike likovne vrijednosti. Sretnu iznimku predstavlja župa župna crkva u Novoj Biloj kao i filijalna crkva u Zabilju – gdje su uvažavaju najviši likovni kriteriji.

Widmowy status utopii w klasycznym Hollywoodzie

Author(s): Rafał Szczerbakiewicz / Language(s): Polish Publication Year: 0

Rafał Szczerbakiewicz’s chapter looks at the intriguing aspects of the subtle utopianism of the main trends in classic Hollywood cinema. During the thirties, forties and fifties of the twentieth-century and at the peak of liberal modernity there was an omnipresent yet transparent capitalist paradigm. This was a time in cinema where the theme of utopia was obscure. Utopia, in cinema, was more a symptom of a frame of mind and the background to a social state of awarenesss. Within the supportive or critical portrayals of capitalism, the utopian/dystopian elements were notable signs as to the filmmaker’s attitude. Amongst films, the utopian impulse is merely an understatement. However, there is one film with an overt utopian stance. This film is based on the novel, "Fountainhead" (1949) by King Vidor. It was tranformed into a memorable screen adaptation by the enthusiast and theorist, Ayn Rand. In this surprising constructionist vision, the socio-architectural utopia is explicitly portrayed giving the utopian impulse the direction towards what would, years later, come to be known as individualistic neoliberalism.

Co narracja postapokaliptyczna może powiedzieć o społeczeństwie?

O refleksji polityczno-filozoficznej w fantastyce na przykładzie powieści graficznej "V jak Vendetta"

Author(s): Wojciech Lewandowski / Language(s): Polish Publication Year: 0

Periods of brinkmanship and crisis encourage the rise of apocalyptical thinking in modern society.The second half of the twentieth century witnessed the rapid development of post-apocalyptic fiction, whose authors examined the human condition in the face of extinction. The development of nuclear weapons and the subsequent dropping of the atom bomb on Hiroshima became of the inspiration of numerous comic book writers to exploit nuclear war anxieties of societies still reeling from the carnage of World War II. Furthermore, comic books became a forum for the presentation of social, political and philosophical discourses. The aim of Wojciech Lewandowski’s chapter is to present, accordingly, an exposition on comics, as media, are capable visionaries of complex philosophical discourses. Another vector is the graphic novel that presents a forum to communicate political ideas without being perceived as a propaganda tool. The presentation of political ideas occurs explicitly in the textual sphere. Furthermore, they can be presented in more sublte ways by the use of symbols that are presented in the visual layer. It is therefore, the capabilities of political discourse that have led me to research the graphic novel, "V for Vendetta". In "V for Vendetta", author’s Alan Moore and David Lloyd, write of a dystopian post-apocalyptic Great Britain. Through the fictional dystopian narrative of the plot one can discern its great potential as a forum of social and political discussion on the contemporary problems of the real-world.

Rycerz przyszłości czy ożywiona zbroja?

"RoboCop" Paula Verhoevena w perspektywie mediewalistycznej

Author(s): Maciej Gaździcki / Language(s): Polish Publication Year: 0

Maciej Gaździcki’s chapter deconstructs "RoboCop"—the eponymous knightly hero of Paul Verhoeven’s original film and subsequent installments in the franchise—including the world he exists in, through a medievalist perspective. Gaździcki discerns between Robocop’s role as either a futuristic knight or merely caricaturesque animated armour. Relevant and explicit similarities are made and analyzed between Verhoeven’s crime-fighting hero and the characters from Chansons de Geste, Arthurian legends, and hagiographic stories (otherwise known as loricati). The author also includes connections to works based on medieval chivalric epics. Concluding, Gaździcki attempts at finding parallels between the latest incarnation of Robocop and the Middle Ages.

Queerowanie Frankensteina. Motywy inności i nienormatywności w serialu Dom grozy

Author(s): Barbara Braid / Language(s): Polish Publication Year: 0

In the chapter “Queering Frankenstein: the motifs of otherness and non-normativity in »Penny Dreadful«”, Barbara Braid offers an interpretation of Frankenstein’s creatures presented in the series from the perspective of queer theory. The queer is understood here as a wide range of non-normativity and difference, including subjectivities and actions which subvert stabilities and norms. The author identifies the links between queer theory and the gothic, which allow to see the characters which are monstrous, undead, abject—or simply Other—as representations of difference. In this light, the presented analysis shows the three creatures made by Frankenstein and Victor Frankenstein himself as characters related to each other in non-normative ways, creating a queer quasi-family. This discussion is also contextualized by references to Mary Shelley’s original novel and some of its classic film adaptations and their comparison with Penny Dreadful. Frankenstein’s creature is, due to its nature as the undead made of fragments of corpses, an abject thing, an embodiment of Otherness. In the series, Victor creates three beings, which are in a constant tension with each other. The firstborn John Clare murders the second creature, Proteus, out of hatred for their “father” Victor; the third being is Lily, another embodiment of the Bride of Frankenstein, destined to be with the creature, but desired by Victor. She becomes a dangerous fiend, femme castratrice, who desires a new world order and subordination of human beings. These two surviving Others—John and Lily—represent two different attitudes to their otherness. John Clare yearns normality and tries to achieve it by establishing a family with a human woman; Lily, a demonic man-eater, terrifies him. On the other hand, Lily strikes a relationship with Dorian Gray, equally non-normative, in order to achieve a queer monstrous supremacy over the world. However, both Frankenstein’s creatures fail and become alone. Therefore, the chapter is concluded with suppositions that question whether the motifs of otherness play an unequivocally subversive role in Penny Dreadful.

O potrzebie tabu w sztuce nowych mediów. Od rytuału przejścia do ustanawiania agendy

Author(s): Anna Maj / Language(s): Polish Publication Year: 0

The paper aims at tackling the problem which manifests itself intensely in new media art, interactive art, and bioart in particular; precisely, as artists challenge various barriers and limits affecting social, spiritual, and bodily life of the contemporary human being, the recipient‑interactor, paradoxically, tends to long for taboo, sacrum, and beauty. Consequently, diverse strategies and activities undertaken by the cultural institutions – on the example of Ars Electronica festival in Linz – are analysed. Following this, the paper poses a hypothesis that what is in fact tabooed is the role of the organisation introducing new media trends and holding events concerning them; Ars Electronica is not only an institution oriented at research, and cultural and artistic practices, but also one which serves educational, entertaining, and business purposes. In fact, it is a gatekeeper transmitting messages, a stimulant to investigations and artistic activities, and a trendsetter cultivating pro‑technological attitudes and mass fashions, such as: participating in social media, cyberactivism, accepting technological extensions of the body and genetic modifications. The paper ponders upon the possibility of applying the agenda‑setting theory to the institutions which operate on the intersection of art, science, education, industry, and promotion of new technologies. The analysis proposed – concerning cultural taboo – is also broadly related to the issues of the anthropological perspective and understanding taboos in oral cultures, since it is a taboo which provides a significant context for contemporary cyberculture; a taboo, after all, is perceived as secondary orality, to use Walter J. Ong’s term.

У трагању за „новим човеком“: Врхунац културне сарадње Југославије и Совјетског савеза 1944–1948.

Author(s): Goran Miloradović / Language(s): Serbian Publication Year: 0

The relations of Yugoslavia with the Soviet Union had in the field of culture, as well as in other fields, their most intensive phase in the first post-war years. Cultural contacts were realized through import of products of Soviet culture, and even on a larger scale through taking over and application of the Soviet model by Yugoslav Communists and artists close to the Communist Party of Yugoslavia. The practice of socialist realism in Yugoslavia was reflected in uncritical aping of artistic form of Soviet authors and in consistent adoption of tenets of official Stalin-type of art. Cultural cooperation was the corollary of the military and political support of the Soviet Party and the state for the Communist Party of Yugoslavia during the war and the first post-war years. Soviet cultural production was presented and promoted in Yugoslavia through art exhibitions, visits by artists, film production, publishing of translated literature and popularizing of Soviet music. In those years every cultural event of greater importance took the form of inter-state and interparty cooperation. Due to unequal cultural power, cultural cooperation between Yugoslavia and USSR in the first post-war years marked in fact the pinnacle of the influence which was reaching Yugoslavia from USSR. Although a modicum of cooperation existed during the inter-war period, just as that cooperation existed during the second half of 20th century, it was never so intensive and multifaceted, nor was it ever so strongly and assiduously supported by the two states as was the case during the first five years after WWII.

Između avangarde i cenzure: Tito i umetnost šezdesetih

Author(s): Radina Vučetić / Language(s): Serbian Publication Year: 0

Avant-gard on exhibitions, on theatrical stages, on cinema screens and in concert halls was one of the specific features of the art scene in socialist Yugoslavia. The cream of the world avant-gard started arriving in Yugoslavia already in the 1950s and Yugoslav artists started creating works in the spirit of modernism and avant-garde. The presence of avant-garde sent into the world an image of an extremely modern, liberal and free country in which the avantgarde became the mainstream, in a way. However, the presence of the avantgarde in Yugoslavia doesn't present the true picture of artistic life. Exactly the time when avant-garde was on the ascent in Yugoslavia, was the time of court bans and pressure on artists. Films were banned, criticized or disappeared from cinema repertoirs (The Town, The Return, The Trap, A Man from the Oak Forest, Morning...), and consorship hit theater too, where only in 1968/69 plays Hats Down, As Pumpkins Bloomed and The Second Door to the Left were taken off the repertoir. Similar pressure was visible in the case of the journals Književne novine or Student who suffered governemnt blows in the late 1960s. Openness for fredom of the form, but not openness for critical examination of reality were characteristics of artistic life in SFRY.

О некоторых предметах декорировки костюма и украшениях конца XIII — начала XV вв., связанных с золотоордынской традицией

Author(s): Svetlana S. Ryabtseva / Language(s): Russian Publication Year: 0

The items of costume decoration and adornments, produced in conformity with the Golden Horde traditions were spread quite widely, from the Volga region to the Balkans. They were worn by both the elite and the plain people. In some cases, local imitations are presented. Some of them (for example, metal tops of caps, earrings in the form of a question mark, a number of plaques for clothes, belt and bag) could be worn by the Adygei, Polovtsi, Early Russians, Lithuanians, East Romance and mixed Balkan population (up to Bulgaria and Macedonia).

Терминологический аспект в изучении однонефных храмов средневекового Крыма

Author(s): Vladimir P. Kirilko / Language(s): Russian Publication Year: 0

Smaller churches with one apse and the nave rectangular in plan — undomed and without pillars to divide its internal space in bays — are the most common type of medieval churches in the Crimea. Such religious structures, rather diversified, are spread across the peninsula and include the majority of all existing churches today. The choice of terminology plays an increasingly important role in their studies, due to controversial use of such terms as ‘basilica’, ‘single-nave basilica’ or ‘basilica-type building’ to define them. The present study led to the following three conclusions. 1. When making a choice between functional and architectural approach, if a definition of an archaeological object is required, the second approach should be preferred. 2. It is unacceptable either to refer to those church structures, which do not have such characteristic features as ‘basilican section’ and ‘basilican lighting’, as basilicas, or to attribute them to ‘basilican type’, in order to avoid distorting the mere idea of it as a structure and its architectonic. 3. ‘Single-nave temple’ seems to be the most suitable term to use for the typological identification of such buildings (or, the full term would be: ‘a church, rectangular in plan, with one-part nave and a semicircular/faceted ‘apse’), or a ‘chapel’.

Образно-сюжетный репертуар восточноевропейского скифского звериного стиля: принципы и результаты классифицирования и кодирования

Author(s): Anatoliy R. Kantorovich / Language(s): Russian Publication Year: 0

In the context of steady growth of the archaeological material, the systematization and classification of the array of images of the Scythian-Siberian animal style becomes very important in order to create the uniform language for its description. The article presents an algorithm for classifying this source and substantiates the taxonomy and hierarchy of classification levels. The article presents main results of the classification of 2207 full-figured and reduced images of the Eastern European Scythian animal style (within the Scythian archaeological culture), identifying 345 morphological types. It is demonstrated by what way a set of images of the Scythian animal style can be formalized with the help of alphanumeric code. It is proposed to apply these principles of classification and coding to other local variants of the Scythian-Siberian animal style, which will provide a consolidated basis enabling their comparison.

Об особенностях морфологии и декора «волынских серег» с тиснеными подвесками

Author(s): Svetlana S. Ryabtseva / Language(s): Russian Publication Year: 0

The “Volhynian type earrings” are typical for the full jewelry dress of the population of Eastern Europe in the 10th — the beginning of the 11th century. We put the attention for the decorations with a hollow pendant, welded from two halves, which we selected in type “A” of “Volhynian earrings”. Their production on the territory of Old Rus’ is confirmed by finds of dies from the burial of a jeweler in the Peresopnytsky cemetery in Volhynian and at the Gnezdovo settlement in the upper reaches of the Dnieper River. Outside Eastern Europe, such decorations are known from the territory of Poland, Hungary and Sweden.The studied items vary by overall dimensions, design of the rings and suspension. The rings are especially different in size and set the decorating parameters, whereas the suspension, for all its morphological differences, does not differ much in length. There are two variants for rings. The first is a smooth ring. The second one is a smooth ring, unchained in the lower part; one more element is attached to it, creating the effect of “lunula”. Rings with lunula are very characteristic for this type of jewelry. Variants with simple rings are less common, but they bring these products closer to other varieties of “Volhynian earrings”. Pendants are significantly different in proportion (there are more elongated, there are broad, squat) and decor characteristics. Judging by the sufficient variability of the pendants, there were quite a few masters with dies and skills for making these complex elitist ornaments.

Cultural Encounters and the Role of Art in Yugoslav-US Relations 1961-1966

Author(s): Stefana Djokic / Language(s): English Publication Year: 0

This paper discusses the role of art in Cold War diplomacy in Yugoslav-US relations between 1961 and 1966. During the 1960s, culture was often, sometimes unwittingly, at other times intentionally, infused with the politics of the Cold War. According to one line of existing scholarship, the rise of US art after WWII and exhibitions of American art abroad amounted to cultural imperialism and a “profound glorifying of American civilization.” These historians persuasively identified the political motives behind the exhibition strategies of American museums, such as MoMA’s promotion of Abstract Expressionism through the International Program of Circulating Exhibitions (established in 1952), or the US Government’s Central Intelligence Agency endorsement of US art through its offices around the world. Accordingly, Abstract Expressionist works were staged as par excellence representations of America’s democratic values, where the messages of freedom and individuality behind the works of such artists as Jackson Pollock were contrasted against the tyranny and totalitarianism of the USSR. Indeed, John Hay Whitney, Chairman of the Museum of Modern Art, explicitly stated that the role of the Museum and of art is to “educate, inspire, and strengthen the hearts and wills of free men in defence of their own freedom.”

Double-Sided Encolpion with the Virgin and Child and Three Saints in the Collection of the Princes Czartoryski in Krakow

Author(s): Mirosław Piotr Kruk / Language(s): English Publication Year: 0

One of the most precious Byzantine objects in the collection of the Princes Czartoryski Museum in Krakow is the double-sided pendant in the form of a carved wooden medallion (9.8 × 7.2 × 1.5 cm) with a refined openwork filigree silver-gilt mount studded with pearls and garnets (inv. no. MNK XIII-475). There is a depiction of the Virgin and Child on the front and of three saints with a temple model on the back. Its features suggest that it was made in the second half of the 18th century, probably in one of the monastic centers on Mount Athos, perhaps at Simonopetra or — even more plausibly — at Hilandar; and all the more so if the figures depicted in the medallion actually are St. Sava, the first Serbian Archbishop, and St. Simeon, his father and the first Serbian king.

Золотые колты с изображениями святых: манера исполнения и неизвестные особенности стиля

Author(s): Ljudmila V. Pekarska / Language(s): Russian Publication Year: 0

Jewelry bearing images of saints, publicized in academic circles but without any greater study, are presented here in detail for the first time. Additional information has been introduced where such detail has been lacking on those found in foreign collections. The images, their forms and design compositions, characterizing the work of the Kiev’s princely workshops of the 11th—12th centuries, are analyzed. Attention is focused on separate stylistic features of manufacturing, previously unresearched.The study allowed us to conclude: that there were cases of stencils being re-used; that manufacturing to order of a pair of kolty by two masters took place — the main specialist, who was highly proficient in his drawing and cloisonné technique and his assistant, who was still gaining skills in producing such jewelry. This would explain the reason for stylistic differences in the details of face designs, garment decor and enamel tones.A new interpretation of Vladimir’s kolts of the 12th century is proposed, revising the prevailing school of thought in literature about their provincialism and imperfection.

Етномузикология за етнолози

Преподавателски предизвикателства

Author(s): Natalia Rashkova / Language(s): Bulgarian Publication Year: 0

The focus of this paper is on the specific thematic aspect of the author's lecture course on Ethnomusicology among the Ethnology specialty disciplines at the Paisiy Hilendarski University of Plovdiv. The conceptual contribution of Prof. Todor Iv. Zhivkov to the systematic development of the teaching program for this university specialty is highlighted. Teaching ethnologists Ethnomusicology focuses on the most recent and up-to-date scientific progress in this area related to the anthropological approach to music. In the course of education, the students create competences for recognition, observation, and analysis of the ways of expressing basic parameters of culture through the music. The mechanisms and the meaning of the musical activities in a particular type of culture (the traditional one) and in the contemporary events of musical cultural inheritance are outlined.

Labin ili izvedba undergrounda kao jedan od modusa otpora izolaciji/periferiji

Author(s): Suzana Marjanić / Language(s): Croatian Publication Year: 0

Using the example of the town of Labin in Istria, I demonstrate how isolation, the so-called periphery, can also serve as an expression of resistance in a cultural niche. The collective Labin Art Express (L.A.E., initiated by Dean Zahtila, late Krešimir Farkaš, Graziano Kršić) is the initiator of the fundamental L.A.E. project Underground City XXI ‒ independent underground Labin cultural city as an alternative to the existing above-ground, heteronomous Labin, i.e. the creation of a real city 150 m below the earth’s surface ‒ in underground halls and tunnels, carved in solid rock, connecting Labin, Raša, Plomin and Rabac, with streets, bars, galleries, swimming pools, playgrounds for children, shops, restaurants, the Museum of Mining and Industry of Istria. Thereby we can compare Labin in terms of urbanity and anthropology with the town of Katowice, which in 2018 was selected to host the most significant UN Climate Change Conference, following the 2015 Paris Agreement. Katowice were chosen as one of Europe’s most polluted sites due to the exploitation of coal i.e. the transition of the aforementioned town from a mining and industrial site to a modern industrial, economical, technological and cultural centre.

ДУХОВНО-ЭСТЕТИЧЕСКАЯ ЗНАЧИМОСТЬ ХОРОВОГО ИСКУССТВА И ЕГО ИЗУЧЕНИЕ В ДМШ

Author(s): Ana Glebov / Language(s): Russian Publication Year: 0

This article examines the spiritual and aesthetic significance of choral art in the process of studying music schools for children. Studying B.V. Asafiev, A.F. Losev, I.F. Gagim denotes the problem of spirituality seen through the process of internalizing music, knowing the intonation essence of choral art, as well as the spiritual, aesthetic and inner content of the vocal and choral culture of a student of music school for children.Keywords: spirituality, choral art, music school for children

Chanteuses françaises des années 2010 : un comique « genré » ?

Author(s): Catherine Gravet / Language(s): French Publication Year: 0

The history of French song is a heritage of unforgettable texts very often written by men, sometimes for women. Female singers, authors, composers and performers, however, are taking on an increasingly important role, to the point that female researchers are talking about "matrimony". This emergence of women in French song often involves comedy: black humour, false naiveté, offbeat irony, even sarcasm impose a different vision of the world from that of men or put a distance from an alienating universe dictated by the patriarchal tradition. Yet, song, the art of incarnation, is a poem like no other, it needs the performer's voice, or even her body, and current recording and broadcasting techniques completely change the public's perception. A few case studies should enable us to better understand the specificity of some texts written and performed by women in terms of irony. Several themes closely linked to the body seem recurrent to us, such as motherhood, adoption, childbirth or abortion, in a firmly provocative stance: why are Laurie Peret's song, "Un, deux, trois" (2017); Laura Laune’s "La Rupture" (2017); GiedRé’s "Pisser debout" (2011) or "Ode à la contraception" (2014) so shocking? They are both provocative and subversive, they defy the rules of propriety, and their assumed vulgarity bewilders.