Fegyverek és múzsák. Erdély művészete az első világháború idején

Author(s): Jenő Murádin / Language(s): Hungarian

The events from a hundred years ago, the centenary commemorations about the 1st World War make especially timely the revelation of that age’s cultural history. The society of Transylvania was sorely tried because of the events and in the meantime it illustrated the sufferings endured as a reflection in a mirror by its spiritual, value-creating power. This thesis is the first summary of the history of art’s references of the four war-time years concerning us. It presents the works of art of the creators who made a service in the field revealing the backgrounds of their genesis. There is distinct chapter joining all these which flashes the fates of the P.(O.)W. camps’ Transylvanian survivors on the basis of a manuscript unpublished so far.

Музика београдских кафана, салона и клубова 1

Author(s): Jovan Frajt / Language(s): Serbian

U prvoj svesci “Starogradske pesme” nalazi se izbor od deset najlepših i najpopularnijih starogradskih pesama između dva rata, među kojima posebno mesto zauzimaju”Kreće se lađa francuska”, “Tamo daleko” i ”Što se bore misli moje”.

Музика београдских кафана, салона и клубова 3. Вечерњи звон: Руске популарне песме и игре из збирки Јована Фрајта и Сергеја Страхова

Author(s): Hristina Medić / Language(s): Russian,Serbian

Posle Oktobarske revolucije brojni ruski umetnici emigrirali su u Kraljevinu SHS i doneli svoje narodne i zabavne pesme, koje su u srpskoj prestonici ubrzo postale veoma popularne. Srećna okolnost je bila ta da je u to vreme (od 1920.) u Beogradu već postojala velika i uticajna (najveća tada na Balkanu) izdavačka kuća Muzikalije Jovana Frajta, koja je u svoj projekat Narodna izdanja (Edition populaire) uvrstila objavljivanje te dragocene ruske, a uskoro i naše, muzičke baštine. Jovan Frajt (češki muzičar koji od 1903. živi i deluje u Beogradu kao violinista, dirigent, kompozitor i izdavač), vlasnik te izdavačke kuće, ostvaruje saradnju sa dvoje „naših“ Rusa koji su svoju umetničku karijeru izgradili u srpskoj prestonici ostavši joj verni do kraja svojih života, a to su: poznata interpretatorka ruskih i ciganskih romansi Olga Jančevecka (Brest-Litovsk,1890 – Beograd, 1978) i kompozitor i prevodilac Sergej Strahov (Moskva, 1901–Beograd,1945). U nevelik broj notnih izdanja ruskih narodnih pesama Frajt uključuje i rusku popularnu (zabavnu) muziku koju objavljuje uglavnom u vidu manjih albuma što je praktikovao i kada su bile posredi npr. makedonske, slovenačke ili dalmatinske narodne i popularne pesme. Frajt je već u prvoj godini (1920.) svog izdavaštva objavio dve ruske pesme i to u sopstvenom aranžmanu za glas i klavir: Hrizanteme i Oči čarne (EF33), a sledeće i romancu Vihažu (EF127). Najveći broj ruskih pesama Jovan Frajt je objavio 1935. godine (oko 17). Među njima su i dve najpoznatije: Crveni sarafan (EF 744) i Dve gitare (EF 744). Ova izdanja ruskih popularnih pesama za nas imaju istorijski značaj. Ona s jedne strane upotpunjuje sliku sveokupnog doprinosa ruskih emigranata na polju naše muzičke umetnosti između dva rata. S druge strane ona su pored domaćih izdanja američkih i nemačkihih autora popularne muzike bila treća dominantna, a specifična komponenta koja je uticala na formiranje i razvoj žanra popularne (šlagerske) muzike u Srbiji. U trećoj svesci iz serije Muzika beogradskih kafana, salona i klubova, naslovljenoj Večernji zvon sabrano je 37 ruskih narodnih i popularnih melodija.

A mai film szimbolikája

Author(s): Jenő Király / Language(s): Hungarian

A New book by the Béla Balázs- and Arnold Hauser award-winning author. The Symbolism of the Film Today wishes to explore how the psychological and social problems of today’s people are represented generally in typical and some more significant films made recently. Films often depict psychological coldness, indifference, spiritual cynicism, narcissism, the growing power of addictive disorders, the dissolution of gender roles, the crises of marriages, the distortion of childhood, and infantilism as its normal consequence more sensitively than the social sciences following in their footsteps. The book gives detailed analyses of outstanding films, which made great advances towards the way of expression and experience today. For example, of Hitchcock’s Psycho, highlighting its historic significance by explaining that in the film sublime is surpassed by horror and melodrama by thriller. The author pays special attention to Pasolini’s Salo or the 120 Days of Sodom, in which love is surpassed by crude sexuality. Verhoeven’s films say farewell to the classic mythology of heroism and happiness, which is shown by discussing the film entitled Turks Fruit as the last important tragic romance. In a final overview, the mythology of happiness is surpassed by the mythology of horror and lust, which takes place in the second half of the 20th century. The present book is the subsequent volume in the series: Jenő Király: The Symbolism of the Film, volumes 1-8.

Sześcian zaklęty w kuli

Author(s): Ewa Dąbek-Derda / Language(s): Polish

A Cube Spelled in a Sphere provides an analysis of the artistic output of Jerzy Juk Kowarski – one of the most eminent Polish stage designers – focused predominantly on the issues of understanding and creating theatrical space. A point of departure in the discussion and a characteristic leitmotif of the disquisition presented in the book is the idea put forth by Étienne Souriau. By the end of 1940s, this French philosopher referred to a cube and a sphereas two basic models of performing arts and saw the essence of the theater in a contradistinction of the cubic and spherical principles of space organization. Juk Kowarski’s theatre experience, who applied mathematical intuition in his oeuvre, has verified philosophical speculation of Souriau. Theatrical space, which he has shaped since 1973, subject to numbers and shapes of geometrical figures, that is, squares, circles, straight lines, points, triangles, rectangles, and especially two perfect solids – a cube and a sphere – has displayed both spherical potential set in the closure of a scenic cube, and cubic – in theopenness of theatre spheres. Aside from the tension between the spherical and the cubic space, Kowarski’s theatrical scenery also distinguishes itself by a consistent inscriptionof mysterious signs in the theatre reality that point to interdependence of micro‑and macrocosmos. That which made the author of the present book attempt at illustrating Kowarski’s oeuvre by juxtaposing the selected old and contemporary, physical, cosmological, and philosophical concepts that deal with the understanding of space, was Kowarski’s treatment of the theatre medium as a room for a cognitive‑artistic experiment, a laboratory, where one can freely, for seen as an experiment, confront the world, as well as fascinationwith scientific theories. In his quest for suitable forms of scenery design, as well as other objects, for example, the installations, discussed here, placed in public space, the artistconsistently aims to shape them in such a way that they can contain an unlimited number of places, themes, styles, solutions, epiphanies, expressions, and aesthetics. At the same time, it will allow for weaving the staged dramatic narrative between basic ambivalence of the world illustrated by means of abstract notions – between chaos and order, simplicity and complication, locality and globalism, constraints and infinity, necessity and probability, andfinally between the ultimate opposition between physics and metaphysics. Juk Kowarski creates spaces that can indicate focus within cubic point of cosmic‑theatrical sphere, both the familiar and those forces of the world that we only sense. Such a powerful spatial form can be called a machine of play – a mobile that grasping the ideas of a performance in a form that culminates all energy and staging senses – in spatial structure reveals a model of a worlddeciphered by the theater.

To zupełnie nieprawdopodobne

Author(s): Paweł "Kelner" Rozwadowski / Language(s): Polish

A book written by a singer, lyricist, composer, guitarist, one of the most important figures of Polish underground music. The publication perfectly reflects the atmosphere of the birth of punk and reggae in communist Poland and contains the portraits of top artists of this period.

Teatr elżbietański

Author(s): / Language(s): Polish

Reflection on the Elizabethan theatre occupies a special place in cultural studies. Research on the Elizabeth I era contributed to the development of such movements as cultural materialism, new historicism, or cultural poetics. The publication presents carefully selected excerpts from the books by Steven Mullaney, Robert Weimann, Stephen Orgel, Philip Armstrong, Louis Montrose, Andrew Gurr and Mariko Ichikawa, as well as Linda Phyllis Austern and includes a forward written by Mateusz Kanabrodzki and an afterword by Ewelina Godlewska-Byliniak, co-authors of the selection.

Korespondencja Fryderyka Chopina 1838-1839. Tom 2, część 2

Author(s): / Language(s): Polish

The second volume of correspondence of Fryderyk Chopin, richly illustrated with autographs of letters, including indexes, miscellanea, bibliography and biographical notes of the people related to the artist. It includes the correspondence from the composer’s youth and the time spent abroad after the fall of the November Uprising, until Chopin’s arrival in Paris in the early autumn of 1831, as well as his first regular summer stays in George Sand’s house in Nohant.

Korespondencja Fryderyka Chopina 1831-1838. Tom 2, część 1

Author(s): / Language(s): Polish

The second volume of correspondence of Fryderyk Chopin, richly illustrated with autographs of letters, including indexes, miscellanea, bibliography and biographical notes of the people related to the artist. It includes the correspondence from the composer’s youth and the time spent abroad after the fall of the November Uprising, until Chopin’s arrival in Paris in the early autumn of 1831, as well as his first regular summer stays in George Sand’s house in Nohant.

Kino włoskie po 1980 roku

Author(s): / Language(s): Polish

This publication addresses the issues related to the film culture of Italy after 1980, a period not well-discussed in the academic literature of this field. The individual texts relate to Italian genre cinema (including commedia all’italiana); social and political contexts of contemporary Italian cinema; its production realities and modes; the end of the cinema of the great masters (eg Federico Fellini); the works of both directors of the older generation (eg Bernard Bertolucci) as well as the so-called new authors (the case of Gianni Amelio, Paolo Sorrentino). The authors combine scientific reflection with critical reflection. In addition to the cross-sectional texts describing in broad perspective various phenomena in Italian cinema industry after 1980, the book also includes articles devoted to individual artists and analysis of particular films. The reader will get acquainted with various manifestations of film creativity - from the popular genre cinema, through outstanding personalities of Italian cinema, to documentary cinema - in the reflection towards the end of the book. // W publikacji podjęto zagadnienia związane z kulturą filmową Włoch po 1980 roku. Poszczególne artykuły dotyczą: włoskiego kina gatunkowego (commedia all'italiana); społecznych i politycznych kontekstów włoskiego kina współczesnego oraz jego realiów produkcyjnych; schyłku kina mistrzów (takich jak Federico Fellini); twórczości zarówno reżyserów starszego pokolenia (m.in. Bernarda Bertolucciego), jak i tzw. nowych autorów (np. Gianniego Amelio, Paolo Sorrentino). Autorzy łączą refleksję naukową z refleksją krytyczną. Oprócz tekstów przekrojowych na temat ogólnych zjawisk we włoskiej kinematografii po roku 1980, w książce znalazły się także artykuły poświęcone poszczególnym twórcom oraz analizy pojedynczych filmów. Czytelnik może zapoznać się z różnymi przejawami twórczości filmowej -od popularnego kina gatunków, przez wybitne osobowości kina włoskiego, aż po refleksję na temat kina dokumentalnego.

Esej o malarstwie

Author(s): Denis Diderot / Language(s): Polish

One of the most well-known texts written about art and also an exceptional phenomenon in 18th-century writing on art. Very soon after publication (1795) it was circulated internationally and by the beginning of Romanticism it had already become a classic of art commentary. It sums up a period of several years of Diderot’s life, in a large part devoted to the arts, preceded by years of deliberations on the physiological determinants of the reception of art and by studies on the psychology of creativity.

Sztuka Burgundii i Niderlandów 1380-1500. T. I: Sztuka dworu burgundzkiego oraz miast niderlandzkich

Author(s): Antoni Ziemba / Language(s): Polish

The volume encompasses the Burgundian art and culture related mainly to the prince’s court in Dijon and Paris, as well as the Netherlandish art created in the middle-class circles, primarily in the wealthy cities of Flanders and Brabant (Burgundian-Netherlandish tapestries, goldsmithing and miniature painting, Burgundian panel painting, Burgundian monumental stone and bronze sculpture and Netherlandish mobile wooden sculpture). First of three volumes presenting the synthesis of the artistic culture in an important region of old Europe, written by the expert on the subject. The series can be read as a thorough analysis for the specialists, as a coursebook for the students and as an interesting book for the wider public.

Dźwięk w filmie. Między sztuką a rzemiosłem

Author(s): Jacek Pająk / Language(s): Polish

A cross-sectional analysis of issues related to the ontology of sound in film. Using the definition of art formulated by Władysław Tatarkiewicz, the author discusses methods of creation, function and perception of the sound layer as well as its importance in creating film reality. The subject matter, presented from a cognitive perspective, relates to auditory construction of the film form, the creation of the aesthetic experience and expressing emotions.

Teatrologia na rozdrożach

Author(s): / Language(s): Polish

Listy. Wybór

Author(s): Johann Joachim Winckelmann / Language(s): Polish

A selection of the most interesting letters from the years 1745-1768, showing different motivations and aspects of personality of Johann Joachim Winckelmann (1717-1768) and presenting the changes in the aesthetic awareness in the 18th century. The letters, written by one of the most influential art writers of the Enlightenment, are of great importance for the formation of new models of perceiving art in 18th century Europe. They considerably influenced artistic and aesthetic critical writing.

Estetyka muzyki

Author(s): Carl Dahlhaus / Language(s): Polish

A portrayal of the fundamental issues of modern aesthetics of music related to the understanding of music as an art with autonomous artistic techniques. The author uses a systematical approach with a historical perspective, linking each topic to its origins and subsequent phases of development. He considers theoretical and aesthetic issues which had been shaping the modern musical discourse for three centuries, for example the concept of music as an analogy of verbal text, the evolution of aesthetic attitudes and the dilemma of the objectivity of judgements.

CHORDS IN TEMBÛR (DIWAN). Notation of ten Kurdish songs with their chords

Author(s): Yade Shakeri / Language(s): English

I have always had in mind to write a book on numerous performable chords on the long-neck Tembûr which is known by various names in different parts of Kurdistan; it is known as Tembûr in the northern and western Kurdistan, it is known as Diwan in the eastern Kurdistan, and in the southern part of Kurdistan it is called Saz. However, the Turkish people use the word Baghlama to refer to the above mentioned instrument. Some years ago, I strove to do something i n this field which culminated in writing a book and, due to some reasons, I refused to publish it. During the last two months, I aimed at editing and adding some supplementary parts to it. Moreover, ten Kurdish songs along with displaying their chords have been pieced together. It should be noted that the book does not include the entire Diwan chords because I have attempted to write those chords that are more used in this instrument. I hope this book will be used by art lovers and Diwan players to enable them to improve their playing techniques. I wish you enjoy playing them.

Transkrypcja w muzyce kameralnej jako przestrzeń dla interpretacji pianistycznej

Author(s): Aleksandra Hałat / Language(s): Polish

The subject of this monograph is the issue of creative development of a pianist interpretation in chamber music, with the consideration of various transcriptions. In order to fully cover the subject, the author of the paper has tried to systematize the term transcription, as well as presented the pedigree of the selected musical pieces, which are parts of works of art, in the background of chamber musical pieces of their composers: J. Brahms and D. Shostakovich. This monograph also covered the area of knowledge about the relationship between the evolution of chamber music with the accompaniment of piano and the development of the piano sound at the turn of the 18th and 19th centuries. The aspect, which was undertaken in this study - the pianist interpretation in regard to the changing performance medium in the musical piece - was presented on the sample of substantial transcription, using selected elements of the musical work: dynamics, articulation, agogic and some elements of musical expressions. The analysis of the discussed issue was presented on the basis of stylistically diverse musical pieces: Sonata in E-flat major, op. 120 No. 2 for clarinet and piano and its transcription for viola and piano, as well as the transcription for violin and historical piano, and Sonata in D minor op. 40 by D. Shostakovich for cello and piano and its transcription for double bass and piano by James Rapport. Due to the need to show the creative role of the pianist in regard to the performance and sound opportunities of the instruments, which co-interpret the chamber musical piece, selections were made within instrumental duets with the participation of both string and wind instruments. The type of the substantial transcription was used in this work as a means to show the factors contributing to the individualization of the piano playing in chamber music and to present its different face depending on the characteristics of the chosen instrument of the co-interpreter.

Gatunki dramatyczne. Rekonfiguracje

Author(s): / Language(s): Polish

The book Gatunki dramatyczne. Rekonfiguracje [Dramatic Genres. Reconfigurations] is a collection of essays on genre and aesthetic transformations in recent stage, radio and television drama, considered in the context of changes in the model of contemporary theatre. The authors offer diverse reflections: both on traditional genres, such as comedy, and on genre varieties of relatively recent date. They present approaches that offer different than the traditional ones classification criteria and descriptive tools, such as the recognition of the political dimension of genology, memory and affect as genre categories, analysis of form from the perspective of intertextual references and re-combinations, genre transformations as a result of links between drama and music. A lot of space is devoted to multimedia genology in its various versions, i.e. a radio play revolutionised by modern sound broadcasting technology, a TV drama or Internet navigation, which modernise the construction of a dramatic text.

Zdarzenie – technika – sztuka. Myślenie sztuki filmowej. Obserwacje

Author(s): Jerzy Łukaszewicz / Language(s): Polish

Series: Sztuka Reżyserii. Sztuka Operatorska (1), ISSN 2720-1732 The art of film encompasses the real world and the unknown, elusive reality, at the same time pointing to what is hidden, unknown and what escapes the strict boundaries of reality. However, the boundary between these two spheres remains fluid and indistinct, because there is a constant flow between them: something new is constantly presented to the viewer and something else is constantly concealed and obscured. What, then, is this monograph not about? This monograph attempts neither to speak about correct aesthetic views, nor to reveal creation formulas, nor to expose formal manipulations, nor to present imperative artistic methods. This monograph only attempts to answer the question of what is the deeper meaning hidden in the actions of a filmmaker?