БАЧИТИ ДОЗВОЛЕНЕ: ФОТОГРАФІЯ ТА ЦЕНЗУРА У РОСІЙСЬКІЙ ІМПЕРІЇ

Author(s): Gennadiy M. Kazakevich / Language(s): Ukrainian Issue: 2/2018

In the late 19th – early 20th cc. the Russian imperial authorities were concerned with the fast expansion of the photography. As a result, the public administration undertook efforts to get the new technology under the censorship control. The aim of the article is to reveal the theory and practice of the governmental regulation of photography in the Russian empire. Basing on the wide range of archival sources, the author uses traditional methods of the historical study to describe the photography censorship in Russia and employs the approach of microhistory to find out how the censorship affected the everyday life of professional and amateur photographers. The lack of the studies devoted to the relationship between the public authorities and photography in the Russian empire determines the scientific novelty of the paper. From the early 1860ties, both private persons who owned cameras and commercial photographic studios were placed under surveillance of the inspector of publishing facilities and bookstores. Professional photographers were obliged to put their names on all images they produced and keep an account of all their clients. Any photographic activity outside the studio required a special permission of the local authorities. Only members of the photographic societies were allowed to take pictures everywhere in Russia (with an exception of military objects and borderlands) having no certificate from the local governor’s office. Taking and publishing pictures of the ruling dynasty members and their residences required a special permission as well. The censorship controlled sharing of the photographic reproductions of the fine art works. The paintings, which (from the censor’s perspective) either propagated revolutionary and separatist ideas or threatened the reputation of the monarchy and Orthodox Church, were prevented from exhibiting. The local authorities used to confiscate the photographic reproductions of such paintings. As far as erotic materials were banned completely, the censors paid special attention to any photographic images depicting nudity. The author comes to conclusion, that despite the regulations were strict, the whole system of the state control over the photography was rather ineffective. Having no single law defining benchmarks for evaluating the pictures or even a list of the images banned throughout an empire, the censors used to act selectively. Furthermore, in big cities, such as Kyiv, they were too busy to control dozens of photographic studios and amateur photographers. As a result, both photographers and local civil servants ignored most of the regulations.

PHÉNOMÈNE DES 'GROUPES FANTÔMAS' EN UKRAINE SOVIÉTIQUE (SUR LA BASE DES MATÉRIAUX KGB)

Author(s): Yaroslav Antoniuk / Language(s): French Issue: 2/2018

Цель статьи проанализировать феномен мощного влияния комедийной трилогии «Фантомас» А. Юнебеля на молодежь УССР в 60-70-х гг. ХХ века. Методологическую основу исследования составляют исторический и сравнительный подходы, позволяющие проанализировать роль и значение трилогии «Фантомас» А. Юнебеля в дискурсе социума УССР. Использован метод описания и анализа архивных документов. Научная новизна заключается в полученных результатах анализа успеха кинопроката 1967, который вызвал неожиданный взрыв подросткового хуліганства по данням следующего года, он вырос на 15% и стал объектом заинтересованности КГБ. Одной из причин, как предполагается, было подсознательное восхищение подростков уровнем жизни в Западной Европе и протест против замкнутости советского общества. Выводы. В статье выяснено, что призывы к свержению власти, уничтожение большевистской символики под маркой «фантомасов», преобладали в западных областях Украины. Однако, они не были редкостью и в других регионах УССР. Часть хулиганских выходок «фантомасов» отражали увлечение уголовной культурой и, соответственно, различными формами психологического садизма. Эмоционально близкими к ними были неонацистские и антисемитские проявления.

The application of the Roman Ionic order in Augusta Traiana

Author(s): Svetla Petrova / Language(s): English Issue: 4/2017

This paper studies the architectonic decoration in the Ionian order of Augusta Traiana-Beroe (mainly bases, columns, capitals, frieze-architraves, cornice etc.). They were applied in different types of architecture – public, cult, residential. Four building periods can be followed in their application. The earliest one is the period of Trajan-Hadrian; the second period belongs to Marcus Aurelius-Commodus; the third one is from the end of the Antonines to the end of the Severans. The fourth period relates to the beginning of the 4th century. From the first period some bases from houses and porticoes were re-used in the Late Antique colonnades. In the second period the fortress walls were built. The Ionian order from that period demonstrates very rich pieces and supports the announcement of Marcus Aurelius as the ‘κτίστης’ of the city. The peak of the development of the city architecture and in the use of the Ionian order is the third period of the Severi, in which the samples from the time of Hadrian are repeated and further enriched, leading to the so-called ‘Hadrianic Renaissance’. Emblematic for this period is the Auditorium in front of the thermae at the Southwestern gate.The heritage of the second architectural and decorative period can be observed as well: the astragal, the Ionian kyma etc. In the fourth period earlier can be found elements used in the houses and colonnade till the 4th century. The author is looking for evidence for the local production (stone, manner of carving and treatment, motifs, technological markers). For the first time the Proconessian import is publically inaugurated in Augusta Traiana based on the type of marble, motifs, decorative scheme and technology. The materials from the city enlarge the panorama of this center of production with the interior of Thrace and especially with Augusta Traiana.

Mosaic pavements in the thermae of Augusta Traiana (Preliminary report)

Author(s): Maria Kamisheva,Reneta Karamanova-Zlatkova / Language(s): English Issue: 4/2017

During the archaeological investigations in 1974-1975, conducted by D. Nikolov and D. Yankov, a significant part of a thermal building with auditorium in front of it has been discovered in close proximity to the Southwestern gate of Augusta Traiana-Beroe. One of the excavated rooms, interpreted as vestibule, was decorated with mosaic pavement, over which a synthronon was built later, connected with the transformation of this part of the complex into Early Christian basilica. The mosaic floor itself was excavated completely in two stages, the second one performed in 2013.The mosaic covers all the space of the vestibule. Its decoration is formed by several bands in the central part, in front of the exedras and the niches different floral and geometric ornaments are represented. The technique is opus tessellatum, with dimensions of the tesserae from 1 cm up to 1.6 cm with a great variety of colours: white, black, ochre, red, grey and light blue. As a whole the condition of the mosaic is good, but in some parts can be seen small areas with stratification, cracks and single loss of tesserae. On other places some repairs with mortar can be observed, whose aim was to level the deformed surface. The mosaic pavements will be exposed in situ after the protective building is erected and the conservation activities finish.

The ‘Felix’ mosaic from Serdica

Author(s): Mario Ivanov / Language(s): English Issue: 4/2017

In 2011 during archaeological excavations in the central area of Sofia was discovered a well preserved mosaic. It covers the floor of a spacious room (probably a representative hall) of one of the large houses. The mosaic consists of six panels with different geometrical schemes. In the central part of the floor is placed the pseudo-emblema, which presents a running wheel surrounded by a stylized laurel wreath with alternating green and purple leaves. Around the wreath in the four corners of the panel there are four cantharoi with wine stems, leaves and grapes growing from their rims. The techniques used in the mosaic decoration are opus tessellatum and opus vermiculatum (only in the pseudo-emblema). On two of the crescent-like segments of the running wheel is inscribed a word ‘Felix’ with smaltae. According to the archaeological context the mosaic dates to the 80s of the 4th century AD.

Late Roman Mosaic in villa No 1 in Kalimanitsa near Montana

Author(s): Miroslav Markov / Language(s): English Issue: 4/2017

The mosaic pavement in villa No 1 in Kalimanitsa belongs to the West Balkan type of composition with geometric character. It is well dated with a coin, found in the mortar, in the years immediately after or synchronous to 319-320. At that time additional rooms and walls were constructed in the villa. Very interesting are the data on the mosaic technique and the specialization in the craft of mosaic. In the horreum near the villa a lead sheet was found, probably used for samples of different motives and elements of the mosaic. The non-used tesserae found in another room of the horreum show that the assistant of the mosaicist was occupied in cutting the stone and preparing the material for the mosaic, while the master was busy with its designing and making. The analysis of the mortar evidence the usage of blood for better quality of the mosaic foundation. The marble of Berkovitsa in several colours is used predominantly. The composition is typical for the West Balkan areas, influenced by Northern Italy. It has no figural or ornamental decoration, but there is a balance between the orthogonal and curvy elements-fillings. The places of the entrances, real or provisory, are marked at the borders.

PLEDOARIE CINEMATOGRAFICĂ PENTRU MODELUL DEZVOLTĂRII PERSONALE ÎN STUDIEREA LITERATURII

Author(s): Adina Curta / Language(s): Romanian Issue: 1/2019

The pact with the devil is a well known literary theme. Other arts have also treated it in different ways. The general idea is always the price that needs to be paid for the “benefits” offered. There is always a moral: the price – losing one’s soul forever – is way too high as the contract has a limited duration and the time elapses very quickly. In a society where consumption has reached enormous proportions and the illusion of happiness it fuels is more and more fragile, talking to children in school about the traps that can come along can only be beneficial. Beside literary texts, film can also become a useful and pleasant didactical support, a starting point for fruitful debates. Moreover, the school curriculum itself recommends cinematographic exploitation when its product is according to the interests and quests of the children. School focuses more and more on the personal development of pupils. In this respect, literature is an ideal means of supporting this objective. The approach on literature in school in terms of personal development has more and more partisans among teachers. A cinematographic argument in this direction is the film Shortcut to Happiness (2003), in which we discover an entire plea in favour of writing and writers gifting worlds.

Technology selling sex versus sex selling technology

Author(s): Konstantinos Michos / Language(s): English Issue: 1/2019

The object of this study is to conduct a semiotic analysis of two different websites’ advertising techniques: one that promotes sex toys by emphasizing their technological superiority, and another promoting technology products by employing content of a sexual nature to increase their appeal. By studying and comparing these approaches, useful conclusions can be drawn about the way digital tools utilize the concepts of sex and technology. Digital communication makes use of many different modes, and it is interesting to see both how these are employed to represent sex and technology in digital media. Results show that interactivity plays an important role in the experience and messages delivered by the websites, while sex and technology are presented as opposites and used in balance.

A reading on feminism on feminism and pornography through Jury Lotman's culture and explosion: Reflections

Author(s): Mega Afaf / Language(s): English Issue: 1/2019

We endeavor through this research paper to read the feminist movements, in particular countries in order to understand its dynamics and at the same time to foresee its future directions. To achieve this, as an adequate tool, Juri Lotman’s Culture and Explosion (2009) provides us a model for reading the different dynamics within feminism, as a cultural text, as well as its interconnection to other sign systems within the same semiotic sphere. Thus we can understand the interconnection of feminism with politics and society, and with its plurality of discourses makes it in constant change and exposed to explosions which would change its course in the future. These explosions are displayed through the political acts which were passed in favour of the women as a result of the feminist dynamics. Besides, the feminist movement has the capacity to integrate into other movements and also can be transformed into other movements, and thus, new realities and discourses are created. Within this arena, among these realities is the anti-feminist pornography as opposed to pro-sex feminists. From our stand point, pornography, and especially that in the digital age, is the dark side of the feminist movement. Semiotically, in Lotman’s (2009) model, pornography is abnormal, sick or non-existent because it is different from the norm. In the light of this, we are able to expose different views about the harms of pornography both on women and even men.

On the art of memory

Author(s): Boris Brendza,Irena Dimova / Language(s): English Issue: 2/2019

This text is primarily concerned with woman’s presence in some of the poetic texts written by the eminent Serbian author Dragan Jovanović Danilov. The very poems chosen here, we consider part of the heritage that proves that men can succeed in ‘digesting’ female nature. This text is profoundly grateful to the poet’s words for not confining women to the figures of the virgin heroine, the mother, the wife, the prostitute, the mistress, the spinster or the redundant middle-aged mother.

Vladimir Vysotsky: A Hamlet with a Guitar instead of a Sword

Author(s): Zuzana Spodniakova / Language(s): English Issue: 2/2019

The study focuses on the re-enactment of the acting interpretation of the role of Hamlet based on the eponymous tragedy of William Shakespeare, as rendered by Vladimir Semyonovich Vysotsky (1938 – 1940), Russian actor, poet, and performer of his own songs, staged by the Moscow Theatre of Drama and Comedy on Taganka Square. The role is portrayed as what the history of the theatre reckons to be an extraordinary inherent linkage between the actor-poet and his role to which he was transfigured in his perception of society, even off stage. The study reflects on this merging in the light of the artist’s personal relationship with his role, through his own quest for Shakespeare’s interpretation in collaboration with the director, down to the final stage form of the production and its period meaning in artistic and historical-social contexts. The study provides an overview of numerous testimonies of the then critics and of the opinions of theatre scientists and theoreticians reflecting on Vysotsky’s acting. It highlights innovative trends in acting and directorial approach which tied into the traditions of the 20th century Russian school of acting while modernising them with their own artistic methods. They have affected the generations of other performers of Hamlet who, through theatre art, have reflected the transformations of Western culture for over four centuries.

Menas versus religija: romantinė sąmonės struktūra ir religiškumo anihiliacija

Author(s): Rita Šerpytytė / Language(s): Lithuanian Issue: 35/2003

Studies in romanticism disclose the equivocal character of the term: on the one hand, it could be treated as a historical phenomenon (Romanticism); on the other hand, it is a universal “spiritual category” (romanticism). The article displays an effort to reveal the structure of romantic consciousness in order to distinguish the place of religiousness in this structure and its relation with aestheticism. The description of the phenomenon of Romanticism could be carried out only by taking into consideration the features of Romanticism as a historical phenomenon. Thus, the description of the structure of romantic consciousness is accomplished through the analysis of the concrete context of the art of the romantic epoch. The author exposes Novalis’ and Solger’s aesthetic attitudes, as well as interpreting Hoffman’s, Goethe’s and C.D. Friedrich’s works. The conclusion is drawn that the annihilating act of romantic consciousness involves clearing out the religiousness from this consciousness. The romantic consciousness becomes basically aesthetic consciousness.

Demoniškojo estetizmo pavidalai šiuolaikinėje Lietuvos kultūroje

Author(s): Leonarda Jekentaitė / Language(s): Lithuanian Issue: 34/2003

One of the most significant trends in postmodern Lithuanian art (the painter Š. Sauka, the writers S. Parulskis, S. Geda, A. Andriuškevičius, G. Radvilavičiûtë, G. Beresnevièius, the theatre director O. Koršunovas) can be characterised using Kierkegaardian terminology as demonic aestheticism. The essence of this phenomenon are: narcissism, existential irony and “debauched” self-will, always challenging and destroying all limits and taboos. The origin of their always extremely strong expression is their selfsacrificing devotion to their Art as to the only God and the same playful indifference to the discrepancies between fiction and reality, daydreams and nightmares. Their art is perfect professionally and full of deeply authentic suffering. The themes of angels, sin, crime and efforts to understand their attitude to God are always painful, cynical, and related to eroticism, perversion and death. The force of the expression arises from mental experiments in destruction and self-destruction which are signs of a longing for the traumatically lost sense of the certainty of reality and positive faith in God.

Использование невербальных средств общения в жанровой дифференциации языкa телевизионных передач : (на материале русского и польского языкoв)

Author(s): Olga Issakowa / Language(s): Russian Issue: VII/2002

MİTOLOJİK UNSURLARI KULLANAN SANATÇILARIN ÇAĞDAŞ TÜRK RESMİNE OLAN KATKILARI

Author(s): İlyas Sevindik,Ayşe Okur,Fatih Uğurlu / Language(s): Turkish Issue: 58/2019

There are myths formed by the life and beliefs of each societies. The Turks also have mythological elements that originate from their lives and beliefs in all geographies they live in. As in many nations and geographies, the symbols which are the symbol of power and force are used in the foreground. It is often seen that they installed a protective symbol, sometimes a sacred mission and transformed them into mythological creatures due to their strong ties with animals. These are sometimes reflected on the canvas as painting likewise on the stones, on the wood, on the carpet and on the rug. It has also been a source of significant source for the development of contemporary Turkish painting. In this article, the reflections of the works of Turkish art artists after 1950, who considered the mythological elements as a source of inspiration by basing on the especially Turkish and old Anatolian culture, were studied. By examining the pictures of our artists after 1950 like Erol Akyavaş, Süleyman Saim Tekcan, Bedri Rahmi Eyüboglu, Hüsamettin Koçan, Nuri Abaç, Rauf Tuncer, Tomur Atagök and İbrahim Balaban, who considered Turkish mythology and cultural heritage as an outlet point, were in search and took important roles in the transfer of myths between the past and the future, it was investigated how and in what way mythological and symbolic elements are used. The study was carried out as a literature review, and mythological and symbolic elements in the pictures were evaluated in terms of plastic items. In addition, the works of the artists in museums, galleries and collections were examined and the work was enriched with visuals.

CUMHURİYET DÖNEMİ VE ÖNCESİ BATILILAŞMA HAREKETLERİNİN TÜRK MÜZİĞİNE ETKİLERİ

Author(s): Merve Nur Kaptan,Volkan Kaptan / Language(s): Turkish Issue: 58/2019

The Ottoman Empire, which ruled over a wide geography for centuries, had many civilizations within it. As a result of the wars in different countries, the political, military and cultural interactions have become inevitable, and music has taken part in these cultural interactions. In this study, the effects of the Westernization movements in the music starting from the Ottoman Empire with the historical analysis method were discussed. Turkish music was forbidden after the speeches made in Following the speeches which were made in 1926 at the Sarayburnu Casino, Turkish music was marginalized, and Turkish music was broadcasted on radio in 1934-1936. Ottoman music was called reactionary by the official ideology of the Republican period and some broadcasting institutions of that period. At the peak of the alaturka-alafranga debate in the country, Ziya Gökalp's idea that folk music is the folk song in the villages of Anatolia in the national culture, and the idea that these folk melodies can be processed with Western techniques has become a dominant ideology. Despite all these prohibitions, there action of the lower levels of society was to internalize Turkish music in contrast to the expectations. The practices in this context were abandoned and the ban on Turkish music was abolished in 1936.

POSTMODERN SANAT VE GÜNÜMÜZ

Author(s): Metin Kuş / Language(s): Turkish Issue: 60/2019

Postmodernism as a concept in art refers to artistic production category which was created after 1970. The refusal of the aesthetic and ideals which were aimed by the “Modern Art” before was the most prominent feature. As in all definitions of Postmodernism, Postmodernist Art is described as opposition to Modern Art. An important principle of Modern Art is the refusal of rejection of everything traditional and is based on an approach where features that don’t change according to place and time are centered. One of the rejected points of Modern Art by Postmodern Art is the idea that “art” is separated and glorified from the popular one. Postmodernism after this opposing overlapping with a number of new developments led to artistic experience which almost lasted half a century with new art forms such as deconstruction, computer-based artistic productions, new media and conceptual art. Postmodernist artists by using these new forms and expanding the meaning of the definition of practice and art brought almost to the point that “everything goes”. Postmodern Art in today’s world is a part of a trend which introduces many new concepts, behaviors with wider technological, political and social change. The full effect of internet on provision and distribution of artistic image and the creation of applied art and design has not yet felt. However, the transformation in the music industry in present is the harbinger of the change in the field of plastic arts and its customary acceptances and built in values. This approach expressed as “reassessment of all values” continues to exist with reflections in Art, intertwined ongoing modern habits and contradictions. In this study “the postmodern status” of plastic arts with related arguments and the definition of postmodern as the opposition to the available concepts and diversity and multidimensional of art is being examined.

BİR BELGESEL ÜÇ USTA: SUHA ARIN, HÜSEYİN ANKA VE MİMAR SİNAN’I YENİDEN YORUMLAMAK

Author(s): Seçkin Sevim / Language(s): Turkish Issue: 62/2019

Suha Arın (1942-2004) broke a new ground with over sixty documentaries produced from the mid-1970s to the end of the 1990s. Arın is accepted as an ecole in the field of documentary cinema because he trained many students during his life time. According to Arın, documentary cinema is an intersection where science meets art. Therefore, a documentary filmmaker must be both a scientist and an artist. Arın conducted a rigorous research process in his own documentaries and tried to put the subject he had handled into a “framework”. Reevaluation of Sinan Through Hüseyin Anka (1989) is one of Arın's works that brought his views on documentary cinema the closest to the ideal level. The aim of this study is to analyze the creative approach of the documentary which combines science and art. Suha Arın's creative approach which handles the subject in three planes keeps the documentary away from being an ordinary artist portrait. In the first plane, sculptor Hüseyin Anka Özkan's (1909-2001) reevaluation of the sculpture of Sinan the Architect (1489-1588) by inspiring his image in a newly discovered miniature and his memories is presented. The pile of mud on the bench evolves into an impressive figure of Sinan the Architect in the skillful hands of Hüseyin Anka who works with great passion. In the second plane, the story of the chief architect of the Ottoman Empire is conveyed through the mouth of one of the most important sculptors in the history of the Republic. Hüseyin Anka reshapes the sculpture according to the course of the events he tells. In the third plane, Suha Arın establishes a parallelism between the lives of these two great artists -one from the Republic and the other from the Ottoman Empire. The artworks of three great masters are exhibited in a single documentary.

MODA TASARIMINDA MİTOLOJİK SEMBOLLER

Author(s): Duygu Erkan / Language(s): Turkish Issue: 62/2019

In this study, the symbolic reflections of mythological elements in today's fashion designs, their applications as colors, patterns and silhouettes and the meanings they represent are examined by associating them with clothing and accessory visuals.This research is limited to the symbolic effects of Greek mythology on fashion designs due to the richness of mythological visual elements, their universal meanings, and the frequent use by many fashion brands in both logo and designs.In the introduction part of the study, the relationship between the concepts of symbol, mythology and fashion design was evaluated and the effects of mythology on social structure and the semiotics in art were revealed.In the second part of the study, the importance of the symbolic language of fashion in the history and how use the major fashion brands this symbolic language was presented.In the final part of the study, the Greek mythological elements used in the fashion design collections were examined since the beginning of the 20th century, and their symbolic meanings and their reflections on clothes and accessories as design elements were presented.

Баухаус и Новата типография – един световен език

Author(s): Vesselina Valkanova / Language(s): Bulgarian Issue: 1/2019

The article is dedicated to the 100th anniversary of the creation of the BauhausSchool - one of the most influential visual styles of the twentieth century, established as aglobal and international visual language. Created in times of political, social and technologicaltransformations, Bauhaus dramatically changes the European visual environmentthrough the ideas of elementary typography. One of the axioms of modern design – „formfollows function“ - emphasizes rationality and subordinates the aesthetics of usability, theobjective approach and the non-personal expression. Typography is one of Bauhaus‘s essentialmeans of expression. The new typography, through the visualization of Bauhaus‘sproducts, gradually strengthens European aesthetics through its clear organization, strongcontrasts of color, sizes and arrangement, a thoughtful, strictly standardized policy of usingimages and fonts. Bauhaus‘s ideas can be traced back to the Swiss design, magazine stylesand practices of the second half of the twentieth century, as well as today‘s webdesigners‘approaches.