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Marker’s Madeleines: The Essay beyond Text and Film

Author(s): Philip Bijoy / Language(s): English Issue: 2/2019

This paper focuses on Chris Marker’s status as an essayist but, instead of taking his cinematic works, it explores his early print essays Commentaires (1967), Le Dépays (Chrismarker.org), and his later digital works – Immemory (Gorgomancy.net) and Ouvroir (SecondLife.com). This study is based on the argument that the essay is a malleable form and that it serves its primary function of expressing thought through a process of combining disparate elements in a non-linear format. Further, it argues that this digressive nature of the essay not only enables it to combine different media such as the use of photographs and text, but also it is capable of combining material between media and produce an entirely new medium such as multimedial works in the digital sphere.

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Парадигмальні аспекти взаємодії психоанализу й арт-терапії: проблема якісної класифікації психотипів (закінчення)

Author(s): Galina Popoyena Poserezhna / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. The article substantiates the psychological type classification based on universal ontological grounds, and demonstrates an ability to scan psychic characteristics of an individual. Thus, the mentioned idea provides an effective interaction of practices based on the psychoanalysis and art therapy. The certain claim opens the space for the actual interaction of psychoanalytic and art-therapy practices. Methodology. The methodology of the study applies methods of classification and typological analysis as well as integral and symbolic-numeric approaches. Their application allows to reveal the disadvantages of the existing quantitative classifications of psychological types and to offer the universal and qualitative ones instead. Scientific Novelty. The scientific novelty of the article is presented through the fundamentally new method of psychological types classification practice. The approach appeals to the conglomeration of objective psychic modes that form a certain psychological type (altogether there are 16 of them, which are systemically represented). In addition, the logical justification for the selection of mental functions, which are taken into account in the proposed qualitative classification, is provided for the first time. As a result, each person appears as a carrier of an exclusively individual set of specific mental qualities, unique as to their "bouquet," which can be "woven" from objective data, rather than reflections of a psychoanalyst. Conclusions. Only by using a qualitative classification of psychological types, psycho- and art therapy-related practices will develop a strong paradigmatic basis, thus, combining their actual ontological aspects in harmonious coherence, and allowing to accelerate the psychodiagnostic process radically. At the same time, from the scientific and theoretical perspective, the developed method will open new channel of the essence of man as a cosmic phenomenon realization.

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Politik und Theater – politisches Theater

Author(s): Franz Huber / Language(s): German Issue: 7/2018

The article tries to highlight Erwin Piscator’s concept of the „political theatre“, which appears at the beginning of the 20th century. Starting with Piscator und Brecht a description of the documentary theatre after 1945 is offered and equal new projections of the documentary theatre after 1990 will be lined out.

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1968: Political Theatre between Triumph and Failure

Author(s): Liviu Maliţa / Language(s): English Issue: 7/2018

This article aims to investigate the defining movements of political theatre, which reached its peak during the 1960s. This cultural and performative phenomenon was determined, of course, by political movements, by active ideologies, and by the emergence and then the dominant dynamics of countercultures. The article describes the most relevant theatrical groups of that period, which radically influenced global theatrical practices and developed new theoretical and methodological frames that challenged European Modernism. My contribution also points out the illusions and disappointments that political theatre experienced in such a troubled decade.

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Politische Valenzen in Friedrich Dürrenmatts Theaterschreiben und -praxis

Author(s): Dragoş Carasevici / Language(s): German Issue: 7/2018

Politics was more than once dealt with in the works of the Swiss playwright Friedrich Dürrenmatt, as well as in his theatrical practice as a director. Two of the most interesting examples in this respect are Dürrenmatt’s last play, Achterloo (1983), and his staging of G. E. Lessing’s Emilia Galotti (Zürich, 1974). While the first one is a complex and encrypted politics collage, the second one reveals itself on the stage as a critique of a political system that surpasses the boundaries of time and becomes relevant also nowadays.

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A Comparative Study of the Chinese and Russian Presentations of Shakespeare’s Macbeth in the Perspective of Intercultural Theatre

Author(s): Yu Sun,Longhai Zhang / Language(s): English Issue: 7/2018

In 2017, one of the most famous Shakespeare tragedies, Macbeth, directed respectively by China’s first-class director Chen Dalian and one of the leading European directors Luk Perceval, gained new forms in exotic countries and yet still displayed its eternal charisma and magnificent power. The two interpretations gave the Chinese audience an unprecedented experience due to their strong visual impact. The Chinese version marked a new level in the creation and performance of modern Chinese drama and was widely acclaimed. However, the Russian version seemed an “over-experimental” play to the Chinese audience, so it could not be fully understood and accepted. This paper compares the Chinese experimental interpretation of Macbeth with the Russian one from the perspective of intercultural theatre by using theories proposed by many international theatre critics, such as Antonin Artaud, Jerzy Grotowski, Peter Brook, Eugenio Barba and Richard Schechner, analyzing the stage design, directing concepts and performing skills. It then elaborates on the inner connections of the two adaptations by the two directors from China and Russia by analyzing the complexity of the relationship between audience and performance in intercultural theatre, and the transformation and reception of the cross-cultural adaptation of Shakespeare’s plays in China and Russia.

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Voice Music in Răzvan Mazilu’s Production The Jungle Book

Author(s): Roxana-Sorana Ardeleanu (Tibil) / Language(s): English Issue: 7/2018

Maybe the most provocative personal experience regarding the musical training of the actors, certainly the most interesting, the composing of the "Jungle Book" show directed by Răzvan Mazilu, required the total involvement of the director and close collaboration with the musical producer concerning the instrumental part recorded on tape. The analysis of "The Song of the Eagles" reflects the personal contribution in the organic dramaturgy of the show.

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The Actor and the Absence – Imagination or Memory

Author(s): Camelia Curuţiu-Zoicaş / Language(s): English Issue: 7/2018

Sense memory, emotional memory or “affective memory” as Konstantin Sergheievici Stanislavski calls it, is a term often used in the context of the stage course. The actor / student is often asked to recall an event, a situation, or find an analogy in his past with the various scenic situations and bring them into the present. The possibility of doing so is often under the dome of accident and chance. And even if this would be a success for the actor / student with the load of that past thing, the meaning of the object in his mind and soul will crumble, disperse and eventually disappear. The actor / student will be in the face of a strange and impersonal fact, of an unimportant and meaningless event, of an absent object, absent. Why? Because remembering a memory does not only involve passing or recapitalizing an already memorized event, but also activating images, similar correspondences with it, new images, accompanied by its sensory qualities, past representations with current projective elements. Thus, the actor / student can recall images of how they show an absent object, but may, in some cases, retain “linking information” , an indirect causal link between his previous encounter / encounters with his object and his current thoughts about it. Therefore, if in the first case we are dealing with a memory representation by memory, in the second case we can speak of a rebuilt representation and transformed by reproductive imagination, due to its causal relationship with a certain presence of the subject. Thus, the affective, emotional memory that Stanislavski speaks of does not refer to an accurate rehearsal or reheat of the actor /student's external and internal actions, to an imitation, but to their refurbish with new elements, such abstraction and symbolism.

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Indian Philosophical Motifs in the Drama Shakuntala

Author(s): Luara Eliza Avarvari / Language(s): English Issue: 7/2018

This article aims at discovering and analyzing Indian philosophical motifs, poetically illustrated in Kalidasa’s drama, Shakuntala. The drama is the artistic expression of the longing for the absolute, as well as of the fascinating techniques of meditation and ecstasy practiced in the ancient civilization of India. The study attempts an essential interrogation about the relation between the earthly and the heavenly hermitage, about the relation between the earthly and the heavenly Ganges.

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The Concept of Freedom in Jean-Paul Sartre’s Drama

Author(s): Laura-Lavinia Muzicaș / Language(s): English Issue: 7/2018

This study aims to analyze the concept of freedom, illustrated both in Jean Paul Sartre’s philosophy and in his drama. The study wishes to clarify Sartre’s view about the pre-existence of freedom, as a metaphysical, a priori given, as well as the association of identity with the concepts of existence and freedom. The singularity and irepeatablity of the Being is linked by Sartre with placing the existence within the situational and with its ability to choose among the countless existing options. The study contributes to the understanding of Sartre’s drama starting from his philosophical concepts.

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REMEMBERING FORSELF-PORTRAYAL. FROM POSTMODERN ABSENCE OF CANON TO GENRE AMBIVALENCE AND DECLINE

Author(s): Bogdan Aleksandrov / Language(s): English Issue: 1/2019

The phenomenon of self-portrayal resulting from accumulations and developments during the Italian Renaissance period is under discussion in this text through the optics of Postmodernity. Changes that have occurred with the progress of technique in mirror positioning - auxiliary equipment in self-portrayal – have led to a radical change in the ways of creating and perceiving of self-portrait. Conditionally transmitted in self-portrayal, the "Casimir Effect" helps to understand the notion of self-portrayal decline. Postmodern self-portrayal represents not only the creator but paradoxically it includes the viewer within itself too, in a more general sense, its potential audience as well in one with the events in which it is encompassed as a phenomenon.

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Семіотика українського та польського авангарду в світлі ідей Львівсько-Варшавської філософської школи. О. Богомазов – художники «Краківської групи»: від кубізму і футуризму до експресивно-ліричної абстракції (Стаття четверта)

Author(s): Volodymyr Anatolyevich Lychkovakh / Language(s): Ukrainian Issue: 4/2018

The purpose of the research. In the first article on the semiotics of the Ukrainian and Polish avant-garde, his philosophical aesthetic and cultural context was considered, in particular, in light of the ideas of the Lviv-Warsaw Philosophical School. To continue this problem, the semiotic parallels (homology) in the works of the Ukrainian and Polish avant-gardists of the first third of the XXth century are being analyzed. On the basis of the unity of cultural, aestheticsemiotic and art-study analysis of artistic achievements of artistic avant-gard in Ukraine and Poland, an understanding of the cultural and historical peculiarities of the creative dialogue of artists working in similar ideological and aesthetic paradigms is achieved. Research methodology. The research is based on the aesthetic-semiotic concepts of the representatives of the Lviv-Warsaw School of Philosophy (S. Baley, R. Ingardin, S. Lisse, L. Hvysteck) and the founders of the semantic philosophy of art (K. Bell, B. Croce, S. Langer, G. Rickert) and modern semiotics of culture (Y. Mukarzhovsky, Y. Loman, U. Eko). Interdisciplinary synthesis of philosophical and cultural, aesthetic and art-study approaches is used. Scientific novelty. From the standpoint of modern semiotics, for the first time, symbolic complexes and semantic contents in the works of the Ukrainian and Polish avant-garde are analyzed. Models of semiotic parallels (homologies) are created in the works of leading artists of Ukraine and Poland of the first third of the XX century. The method of extrapolation of the aesthetic-semiotic ideas of the Lviv-Warsaw School of Philosophy is used to understand the similarity and dialogism in the artistic imagery of individual artists. Conclusions. Phenomenological, intuitive, neo-positivist orientations of scientific and artistic and aesthetic thinking have caused cubistic, futuristic, abstract, and constructivist quests of avant-garde artists. The aesthetic principles of the semiosis of avant-guardism in Ukraine were laid by V. Kandinsky, K. Malevich, O. Bogomazov, in Poland - T. Piper, V. Steshinsky, G. Stazhevsky. The development of the Ukrainian and Polish avant-garde of these times is, in particular, a kind of "dialogue" between artistic groups and individual artists in Warsaw and Kiev, Krakow and Lviv. The intellectual atmosphere of these creative "competitions" is symptomatic of the scientific and philosophical positions of the Lviv-Warsaw School of Philosophy with its neo-positivist and phenomenological orientations, and especially - the semantic philosophy of art, which corresponded to the establishment of a new semiosphere of avant-garde imagery. The peculiarities of the dialogue of the artists are analyzed on the examples of aesthetic- semiotic and artistic parallels between V. Kandinsky and Y.T. Pyper (theoretical justification of the avant-garde in art), K. Malevich and V. Stshinsky and G. Stazhevsky (the search for suprematist and constructivist artistic language), O. Bogomazov and artists of the "Krakow group" (the path from Cubism and Futurism to expressive and lyrical abstraction). It is summarized that the semiotics of the Ukrainian and Polish avant-garde of the first third of the 20th century coincides in the sphere of "significant forms" of non-classics in fine arts.

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Play vs. Screen

Author(s): Alexandra Ștefania Țiulescu / Language(s): English Issue: 18/2019

This present paper argues the use of visual language as improvement to cover open areas of discussion which go to the very core of Shakespeare’s legacy in modern age. The purpose of this paper is to invite the reader of Shakespeare’s dramatic texts to analyse his language from the “camera” perspective and to cover a complex picture of the role of the director for the screen adaptation. Casting new light on established forms of media transmission, this paper presents an analysis of different techniques in which Shakespeare’s “Hamlet” is transmitted by Franco Zeffirelli on the screen, looking through various cuts from Act 1, Scene 3 in accordance with the play story.

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Авторські права на твори мистецтва в інформаційно-мережевому просторі сучасності

Author(s): Galina Volodymirivna Mular,Olexiy Serhiyovych Khovpun / Language(s): Ukrainian Issue: 1/2019

The purpose of the article is to carry out a comprehensive study of the problems of the implementation of copyright in works of art in digital socio-cultural space, the development of the mechanism of public and legal protection of copyright objects on the Internet. The methodology of the research is based on the concepts and theoretical conclusions in the field of philosophy, cultural studies, art history, and jurisprudence. The scientific novelty of the article is that in this paper, for the first time, the mechanism of legal protection of copyrights for works of art, taking into account the development of electronic resources of Ukraine, in the sphere of digital technologies and modern socio-cultural space is being explored. Conclusions. The civil-law mechanism for the protection of copyright on the Internet is a complex of legal, technical and socio-cultural measures taken to protect the subjective rights and the rights protected by the law of the interests of copyright holders of all types of works of art, recorded in digital form and placed on the Internet. In today's conditions of the formation of a global Internet space, the possibility of using artwork ceases to depend on the personality of his author, which requires the regulation of copyright for reproduction. The legal status of the author of a work of art is determined by the aggregate of personal non-property and property rights. Each of the author's powers regarding the chosen object of legal protection - a work of art - is characterized by peculiarities of its realization.

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Biographical Approach in the Discourse of Artistic Country Studies

Author(s): Myroslava Mykhaylivna Kachur,Lesya Mykhaylivna Mykulanynets / Language(s): English Issue: 1/2019

The purpose of the article is to specify the essence of the biographical approach, to reveal its role in interpreting material and spiritual achievements of the mankind and to establish its significance in the discourse of artistic country studies on the basis of thorough analysis and summary of the works in the spheres of sociology, culture and art studies. Methodology of the research consists in implementation of analytical, culturological, historical, axiological and systematic methods in order to reveal the sense of the biographical approach in the discourse of artistic country studies. Scientific novelty. The authors of the article specify the essence of the biographical approach, provide arguments in favour of its efficiency in culture interpretation and substantiate its importance for realizing the achievements of artistic country studies. Conclusions. Analysis of the works dedicated to the issue of biographical approach enabled the authors to ascertain that it is a specific scientific trend aimed at the study of anthropological processes, the basis of which is the ontological chronicle of a particular person, projection of their inner world, methodology of studying personal experience and fixation of this experience in history with the purpose to understand the very essence of the civilization. The direct object of the approach mentioned above is the description of an individual‘s life and creative functioning from the moment of birth to death, and its subject is a social and artistic situation that gives certain meaning and ideological wholeness to human existence. Chronicle is a portrait of the epoch, which reveals conceptual principles of certain age. Highlighting the world outlook of a creative personality, the biographical approach interprets the person‘s existential ideas, discovers their relations to the events of social and political life, as well as material and spiritual achievements of the mankind. Paying attention to the major events in the chronicle of an artist, modern art studies reconstruct and interpret the sense of the previous epochs and helps to find the sense of the person‘s life. Biographical approach as a way to study the artistic culture of the region promotes discovery of the peculiarities of its development within certain period, finding the ways to transform material and spiritual spheres and acknowledgement of the postulate that history is created by people and the process of art formation in the region depends on activities of its prominent figures.

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REVIVAL OF THE TRADITIONAL CULTURE OF BANAT IN THE DIGITAL ERA

Author(s): Adela MARINCU POPA / Language(s): English Issue: 12/2019

In the modern era and in the context of globalization, communities are rediscovering the value and importance of traditional anchors offered by local tradition. In the specific case of popular culture, it manages to combine the fundamental elements that give sense of community and belonging, overcrowded living conditions of information and influence because of the accessibility offered online. This paper addresses the ways "Dowry Chest" Festival in Timis county showcase traditional cultural heritage of Banat and its projection in cyberspace through digital communication channels

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Kilka uwag o mutowaniu postaci fikcyjnych i recepcji tekstów kultury na przykładzie powieści Alienista Caleba Carra i jej serialowej adaptacji

Author(s): Ewa Kujawska-Lis / Language(s): Polish Issue: XXI/2019

The Alienist, a TV series released in 2018, is based on Caleb Carr’s best-sell-ing novel published in 1994. Irrespective of its genesis as an adaptation, presently the TV series generates new senses when watched from the perspective of works that have appeared in visual culture since the publication of the book. This paper sets to demonstrate to what extent the original novel and later the TV production create a mutation of a well-known pair of detectives (Sherlock/Watson) and how the reception of the series may differ from that of the original novel.

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Żołnierz, heros, kresowy rycerz – przemiana wizerunku „powstańca śląskiego” w międzywojennej rzeźbie monumentalnej

Author(s): Jerzy Gorzelik / Language(s): Polish Issue: 84/2019

After the May Coup and the appointment of Michał Grażyński – supported by the Union of Silesian Insurgents – as the voivode of the Silesian voivodeship, a new approach to the figure of a “Silesian insurgent” was marked in the monumental sculpture. It corresponded with the mythologisation of the Uprisings, which was accomplished in the Sanation propaganda. The Polish military actions in the years 1919–1921 were depicted as a spontaneous, liberating and victorious revolt of the “Upper Silesia folk” viewed as a homogenous entity, an outbreak consistent with the tradition of national uprisings, granting legitimacy not only to the Polish rule in Upper Silesia, but also to the special position of a chivalric insurgent in public life. This myth was applied instrumentally for the purpose of the fight, not only against Germans, but also against Korfanty’s Chadecja (Polish Christian Democratic Party). Korfanty would be depicted as a cunctator or even a traitor, whose weakness would contrast with the moral robustness of an insurgent-worker. In the Silesian voivodeship, the new image of an insurgent was formulated in the works by Stefan Zbigniewicz and Jan Raszka, sculptors related to Kraków. The former designed a monument in Królewska Huta, a city dominated by German minority, creating a figure of a muscular hero in a steelworker’s apron who held a freshly forged sword and faced the German border. Raszka used a more dynamic image in his relief in the edifice of the Silesian Parliament in Katowice and in his monument in Bogucice, presenting an insurgent-steelworker in the act of performing a mighty swing of a hammer. The artists emphasised the timelessness of the “insurgent deed” by rendering an aspect of antiquity and reference to the imagery of Vulcan and Hercules and to the chivalric ethos. It is to this new image of an insurgent that Antoni Miszewski referred in his decoration of the Governmental Palace during the Polish General Exhibition in Poznań in 1929, where the struggling for the Polish Upper Silesia was integrated into the political cult of marshal Józef Piłsudski. It was likewise evident in the monument designed by the Croatian sculptor Antun Augustinčić for Katowice.

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Suad Masličić

Author(s): Author Not Specified / Language(s): Bosnian Issue: 83-84/2020

Rođen 27.11.1945. godine u Beranama. Završio je fakultet za fizičku kulturu u Beogradu i višu saveznu trenersku školu, Filozofski fakultet grupa - pedagogija. Član je ULUCG. Imao je 46 samostalnih i preko 150 kolektivnih izložbi u zemlji i inostranstvu. Studijski boravio u Parizu u „Cite international des Arts“ 2006. godine. Učestvovao na preko dvadeset kolonija u Crnoj Gori i inostranstvu. Nagrade: prva nagrada za slikarstvo „Pivo Karamatijević“ Međurepubličke zajednice za kulturno-prosvjetnu djelatnost – Pljevlja, 1984. Nagrada za slikarstvo „Majski susreti“ Beograd, 1987. Više otkupnih nagrada i priznanja. Bavi se ilustrovanjem, dizajnom i opremom knjiga (ilustrovao udžbenike i lektire Zavoda za školstvo Crne Gore), piše stručne prikaze iz oblasti fizičke kulture i likovne umjetnosti. Dugogodišnji trener rukometnih i fudbalskih ekipa saveznog ranga iz Berana.

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Лекторий «О чём говорит лицо»: анализ результатов теста и некоторые выводы по итогам занятий первого цикла

Author(s): Lilia Ababii,Marina Şulman / Language(s): Russian Issue: 1-2/2018

The Portrait Circle of Lectures “What about is Speaking the Face” was dedicated to the Leonardo’s 500 Death Anniversary. In this article we discuss actuality of the thim and results of test in order to improve our future work.

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