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What Relations are possible to the galaxy of events and coincidence of meeting? There are a different approach from the artist, like Duchamp, novelist Joyce, to the philosopher Derrida. Each of them had a different solutions, but not as a final or universal, but rather as a game in a different context.
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The paper addresses the depiction of the city in Wim Wenders’s film “Lisbon Story” (1994). The film meditates on the “death of the cinema” resulting from the commercialization of the image and globalization of culture, accompanied by the destruction of space. Wenders protests against the postmodernist consumption and homogeneity of space by presenting Lisbon as a city arrested in time, beyond the impact of corporate culture. Expressing his distrust of images, he creates a heterogeneous portrait of the city, superimposing soundscape over the landscape, whereby sounds, particularly music, encode the emotional attitude to the city, experienced in a kinesthetic manner.
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The article analyses the various countenances of Moscow which have been presented by Barbara Włodarczyk in the cycle of television reportages “Wide Tracks”. The text focuses on illustrating the specific features of a film report that allow its author to present the wondrous picture of the Russian capital emerging from the particular fragments of the discussed reportages. Moreover, as a result of juxtaposition of the reports from that part of the city, which overwhelms one with its richness and splendour, with the accounts from these corners of Moscow in which the continuous struggle for survival takes place, the article examines the internal contradictions which may be observed within the depicted urban space. The analysed cycle also exposes the series of political conflicts which undermine the immaculate image of Moscow as a wondrous city, presented by some of the characters of the discussed film pictures, and simultaneously, it allows one to discover some new, less known countenances of the metropolis.
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This interdisciplinary paper aims to outline the role of architecture in the societal construction and devaluation of civic public spaces from the perspectives of theoretical architecture, cultural studies, and theory of culture. When perceived in the context of the agency/structure duality, urban public spaces could be seen as societal constructs whose character and identity can be traced to the holistic organisation of architectural forms within a given locale. At the same time, the deflation in the quality of public spaces may be explained by making references to mutually reinforcing processes of spatial commodification and symbolic violence which are both exercised by implanting pure, self-explicable architectural forms into well-entrenched urban spaces.
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“Bogurodzica” has for centuries constituted one of the pillars of Polish culture. As the oldest religious song written in Polish, it designates avenues of interpretation of the medieval aesthetics both in literature and musicology. Moreover, its influence on society and the emergence of national identity cannot be overstated. Due to this monumental, sacrosanct nature, „Bogurodzica” has become an exhibit in the museum of medieval imagery. However, a song, even one which remains a symbol of the past, is always subject to revision during its performance. Thanks to its musical interpretation and reinterpretation, „Bogurodzica” can be read anew and made relevant, while those interpretations reveal hidden discourses. The following article aims at analyzing selected contemporary performances of the literary and musical relic, ruminating on its role in contemporary popular culture and the perception of the Middle Ages suggested by those performances.
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The article offers an analysis of main stages in development of glazed ceramics of Uzbekistan: Samanid, Karakhanid and Timurid periods, the period of the late medieval Uzbek Khanates and the modern period. The author characterizes local ceramic schools and centers and reveals traditional elements in development of pottery. She discusses reasons behind the spread of glazed ceramics during the first centuries of Islam. Its further specific development is explained within the context of social-historical development of the region.The ceramic industry of Uzbekistan is shown as a vibrant and dynamic process, which has maintained sustainable archetypical features through time. These include: conventional pattern, contrast colors, basic repertory of decoration: floral motifs, stylized images of animals and birds, simplistic geometric ornamentation.
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A collection of late medieval and early Renaissance finds stored in the museum of Dulovo; the items were found south-east of Okorsh village, Dulovo municipality, Silistra region. Out there, in the area called „Beiska mahala”, a big Ottoman-time settlement was found, which is possibly the original source of the finds, which include 36 pafta clasps discussed in the article.According to the numismatic information and the dating of the other finds, the settlement can be dated within the 17th and the first half of the 19th century. According to an Ottoman census of 1676, a village called Abdarrahman seems to be listed in Silistra kaza.The pafta clasps from the collection of Dulovo museum can be divided into 5 types, with their own subtypes. The first type includes small round, cup-shaped pafta clasps, without ornament. Most of the clasps have granular trimming on the periphery, always with a small sharp widening. There are no analogues from closed archaeological sites dated within the period from the 10th to the 14th century. Surely, the dated finds from Niculitel and Silistra are dated within the 17th — the 18th centuries. The second type are round, cup-shaped pafta clasps with a stylized rosette in the center. This type has three subtypes. Most of the clasps are with granular trimming on the periphery, with a small sharp widening. Surely, dated finds from necropolis in Romania are from the period of the 17th—18th centuries. The third type are cup-shaped pafta clasps with radial ornament. This type is a stylized variant of the pafta clasps with a rosette in the center. There are no finds dated within the 10th—16th centuries. The finds from the graves around the church in Arnautkoy village (Poroishte, Bulgaria) are dated within the 17th—18th centuries. The fourth type are shield-like paftas, divided in five subtypes. According to the analogies from surely dated archaeological sites — the church in Arnautkoy and Corinth, we can assume that this type is dated within 18th century. Subtype IVa is dated later — by the first half of the 19th century. The fifth type are leaf-shaped pafta clasps. According to their form, we can add to this type two belt applications with a shape of pafta clasps. According to some analogies from Isakcha, we can date them back in 18th—19th century. According to the surely dated finds, we came to the conclusion that until 16th century the pafta clasps are unknown type of jewelry. The first appearance of pafta clasps on the Balkans and in Bulgaria can be dated by the beginning or the mid of the 17th century. One way for their appearance in this area could be transfer of traditions from Asia Minor, due to relocation of hundreds of Alevi (Shiite) villages in 16th—17th centuries in Eastern Bulgaria.
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The essay surveys the different types of identity transformations of the protagonists in the literary works of the Polish Romantic poet Adam Mickiewicz in the context of the physical and spiritual transformations of the humankind from Adam and Eve until the 21st century. The supernatural changes the Mickiewicz’s heroes undergo are based on the Romantic postulate that the rational mind cannot always provide an explanation for the things happening in our lives. Through the multiple identity transformations in his works, Mickiewicz underlines the strong connection between the worlds of the living and the dead and instructs his reading audience on how to deal with current social, ethical and nationally significant issues.
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This paper reflects the theoretical and practical ideas following the role of the symbol in visual communication and comprehension the transmitted message. The aim is assimilation of essential knowledge needed in the process of visual communication of architecture students in higher education institutions. The paper provides a clearer picture regarding the perception of visual language, comparing the cultural universe of the sign. The semiotic system, the signs and symbols that are conveyed over time are thoroughly analyzed. We propose to show how the theoretical positions are applied to the material of different visual forms, especially architectural.
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Nicolae Istrate (1818-1861) was a nobleman politician, a man of culture wholeft great marks in the lives of the people of Rotopănești, Suceava, in the middle ofthe 19th century. Politically speaking, he was rarely understood by his contemporaries, because of his anti-unionist vision. Culturally speaking, he helped in thedevelopment of the peasants of Suceava, building schools for their children.He has full credit for creating the Music and Declamation Conservatory, thefirst institution of this kind in the United Principalities of Moldavia and Wallachia.Last but not least, Nicolae Istrate had a prodigious literary activity, as he wrote manymanuals, poems and historical plays. Through his entire activity, Nicolae Istrate hada significant contribution to the development of education and culture, earning aplace of honor in the history of this land
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Article indicates the elements of the development of the human personality and what is the significance of the visual arts in shaping personality, as a tool and method of interaction in the development of an integrated personality and learning visual artistic culture. Visual arts are treated here as a basic form of expression and the expression of individual psychological development, and thus one of the ways of knowing mental development. The issues are complemented by an analysis of selected cases where activity was used as a result of surgery to change attitudes, verification of self‑esteem, improve social relationships and the development of the capacity of perceiving reality, concentration, development of visual memory, imagination and creative thinking.
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Cula is a semi-fortified construction, characteristic of the 18th-19th century. Such construction can also be found in other countries, such as Serbia, Bulgaria, Albania, Greece, and Northern Macedonia. In Romania, there are several dozen calls, with different levels of conservation. Until now, these constructions have not been exploited for tourism, most being left to decay. Establishing cultural routes that include them could represent a solution to save these constructions.
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After the epochal event in Alba Iulia on the 1st of December 1918, the first state high school in Transylvania was established here, having the name of the ruler "Mihai Viteazul". Among the studied subjects, music had an essential place. Music was taught by teachers with musical studies as well as with pedagogical tact. In addition to the theoretical knowledge, they also shared with their students the practical skills of singing in the choir and playing musical instruments. Thus, teachers established school choirs and orchestras, which were the pride and cultural standard of this prestigious high school.
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This book is a brief manual of games and theatrical exercises that the team of the show Familia Offline used during a year in the workshops that were the basis of the development of the show. The book includes dramatic writing exercises adapted to the performance script, theatrical improvisation exercises, vocal training exercises and a text about the working method of one of the theorists and practitioners who revolutionized theater pedagogy of the 20th century – Dorothy Heathcote.
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This book is a brief manual of games and theatrical exercises that the team of the show Familia Offline used during a year in the workshops that were the basis of the development of the show. The book includes dramatic writing exercises adapted to the performance script, theatrical improvisation exercises, vocal training exercises and a text about the working method of one of the theorists and practitioners who revolutionized theater pedagogy of the 20th century – Dorothy Heathcote.
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This book is a brief manual of games and theatrical exercises that the team of the show Familia Offline used during a year in the workshops that were the basis of the development of the show. The book includes dramatic writing exercises adapted to the performance script, theatrical improvisation exercises, vocal training exercises and a text about the working method of one of the theorists and practitioners who revolutionized theater pedagogy of the 20th century – Dorothy Heathcote.
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This book is a brief manual of games and theatrical exercises that the team of the show Familia Offline used during a year in the workshops that were the basis of the development of the show. The book includes dramatic writing exercises adapted to the performance script, theatrical improvisation exercises, vocal training exercises and a text about the working method of one of the theorists and practitioners who revolutionized theater pedagogy of the 20th century – Dorothy Heathcote.
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“Totul e foarte normal” nu beneficiază de un decor în sensul comun al cuvântului, ci de o configuraţie a spaţiului de joc și un raport între acesta şi auditoriu, care determină şi servesc conceptului spectacolului. Tema de la care am plecat a fost declanşarea comunicării pe teme tabu între generaţii într-o formulă ludică, prietenoasă şi jovială cu care să rezoneze ambele categorii de vârstă.
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„Nu, nu am vorbit încă, să nu îi dau idei” sau „Acum au internet, știu ei mai multe ca noi” – acestea sunt două argumente între care oscilează scuzele adulților pentru a evita tematica educației sexuale – fie ei părinți, cadre didactice, directori de școli sau autori de programe școlare. Dacă în toate țările dezvoltate, educația sexuală se predă în școli de zeci de ani, în România, educația sexuală nu se predă decât opțional în cadrul materiei Educație pentru sănătate. În 2016, numai 2.000 dintre cei 19.000 de directori le-au propus părinților să-și trimită copiii la aceste ore. Pentru mulți adulți este dificil de acceptat trecerea de la copilărie la adolescență, faptul că tinerii devin ființe de sine stătătoare care își fac propriile alegeri, inclusiv în ceea ce privește sexualitatea.
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