Karl Kraus: figure jezičke sumnje

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

The book “Karl Kraus: The Figures of Lingual Suspicion” , is a collection of 30 essays written by prominent theoreticians and experts on Austrian literature and culture: Georg Knepler, Hans Weigel, Walter Benjamin, Elias Canetti, Lucien Goldman, Theodor Adorno to name but a few. The collection attempts to reconstruct international reception of Kraus’ literary work, pointing thus at the connection between language and society which is particularly obvious in times of wars and crisis. The collection consist next chapters: Kraus in Yugoslavia; Kraus and his Thime; Satirist on the Stage; Kraus’ School of Resistance; Figures of Lingual Suspicion; Eroticism of Viennese Modernism; Kraus and Contemporaries.

Technikatörténeti örökség a kalotaszegi Magyarvalkón

Author(s): Enikő Bitay,László Márton,János Talpas / Language(s): Hungarian

In the history of a settlement the aspects linked to technical history are of major importance, as they are part of the course of culture and civilization. Research work, the insertion of findings in the complex of historical sciences is up-to-date in present historiography.This book contains the results of research in the field of technical history, research done in Văleni-Călata. The settlement appears for the first time in the written documents of the XIII-th century (in 1213) under the name of Vulchoi villa. As the years passed the settlement became also known as Wolcov (1291), Walko (1297), Wolko (1372), and Walko again (1468).In the year 1291 the settlement was among those ones that were paying taxes to the bishop of Oradea.The name of the settlement is most likely linked to the name of the noble Valkay family, onwer of lands, whose last representative disappeared in the year 1730.From the point of view of the settlement's history the XVIth and XVIIth centuries brought about great changes. Reformation, the invasion of Tartars, the multiple fires - all had benefic consequences. The devastated church was rebuilt and a fortress was erected around it. The tower was built and it got the function of a watchtower as well, in the fortified defence system of the settlement.The church is placed in a lovely region, under the protection of a forest arch. The building is architecturally well balanced, its tower has an unmatched robustness and it can be regarded as one of the most beautiful churches belonging to the Reformed Episcopate of Transsylvania.The general architectural characteristic of the church belongs to the Gothic style, although it also has a series of elements of the Roman styleand Gothic, respectively.A special feature, unique to this church in the whole region is that, the space under the tower is part of the pro–nave, augmenting its dimensions.From the point of view of technical history the counter–fortress walls of the church are made of adzed rectangular stones, this being a real demonstration of the skill of the carvers of the time. As a binding element mortar with lime was used and this gave the building enough resistence. The church is entirely covered with shingle. This refers to the church tower and also to the four small towers with cellular ceilings painted by the renowned carpenter and church ceiling painter Lőrinc Umling. This adds to the architectural and artistic value of the church.The monumental aspect is better underlined owing to some elements of building in Roman style originating from the previous building. These elements were organically incorporated in the present architecture of the church.The church tower gives home to three liturgy bells and a small bell to presignal the stroke of the horologe. Two of the bells, the biggest in dimension, were casted in Cugir in 1924 by the bell founder Oszkar Klein. The third bell originates from the bell foundry of the Andraschovski family in Cluj. For over a century the family had been known as famous for casting bells, a tradition passed on from father to son. The bell from Văleni wascasted in 1855 by János Andraschovski. The three bells are beautifully decorated in Baroque and Gothic style. They are placed on a wooden rack made from oak wood carved with a poleaxe. The wood of the rack is the very casing of the bell bail axes.Keeping company to the bells is the horologe built to the special order of the parish in the year 1839. As to where, and in which workshop of the time it was built, one doesn't yet have an answer. It is believed that the building took place in Oradea because this is the place of origin for several other horologes of the churches in the neighbourhood. This particular horologe is made up of three functional modules. The first module is the one that makes the horologe work and it rules the other two. The second module is responsible for the strokes of the quarters, while the third module makes the pre–signal bell work.The pre–signal bell marks the hours and it is located at the extremity of the tower, above the southern part of the porch. This porch surrounds the tower and it is used as an observation turret. The horologe worked till the mid–seventies of last century. At the moment it is incomplete, as its cinematic chain of movement transmission to the clock hands and the pre–signalling bell is missing.A chapter of the book deals with the presentation of the folk architecture development in the settlement. The evolution of the wooden constructions specific to the region is shown: the system of scaffolding and covering, the ornamentation of the facades. The development of the living space is dealt with in a sub–chapter of the book. Here one can come across examples ranging from the most simple living spaces with one room to the more sophisticated ones, set in an order characteristic not only to Văleni but to the entire region of Călata.Among the specific aspects of regional folk architecture one can put into evidence the widespread use of carved or uncarved spruce masonry, daubed either on one or on both sides.The structure of scaffoldings is detailed and so is the shingle covering that replaced in a relatively short while the prevalent straw covering of Călata.Owing to its position in the vicinity of the forest, the settlement came to be noticed as a center for the folk handicraft of shingle fabrication. Shingle was traded outside the settlement too. Handicrafts specific to mountainous regions can be found here woodwork and carpentery. The Văleni dwellers were nicknamed "the resinous ones" because of the spruce resin on the clothes of the people who processed it.Another business specific to the settlement, with a technical side to it, was the carving of spindles and of the nicely decorated, washer shaped spindle weights. These washers have a central orifice corresponding in dimension with the lower diameter of the spindle. This gives stability and inertia to the spinning during the process of spinning the hemp or woolen yarn.The yarn was at the core of another handicraft - the weaving of textiles for husehold needs. The spindle makers used an arch - like device. The string wrapped around the carved, semi-fabricated body of the would - be spindle and the movement generated by the bow gave the semi-fabricated item a bidirected rotation move. The semifabricate body was fixed between two heads and the whole assembly formed a primitive lathe that rounded the spindles. A similar device, used to round off and perforate pieces can be found in the Roman epoch too.Shingle fabrication and spindle making survived in Văleni till mid-XXth century. From that point on industrial products in building material and textiles have gradually replaced the famous products of the Văleni craftsmen.The findings presented in this book are the result of field investigation and registry document study. They demonstrate the fact that although a certain region has been "exhaustively" studied so far, new research and investigation can reveal other characteristic aspects of that region, unnoticed so far.Considering this, the book has the value of pioneering and of a model to be followed for those who wish to study a settlement from the point of view of technical and technological history.

Technikatörténeti örökség Kalotaszegen a gótika árnyékában

Author(s): Enikő Bitay,László Márton,János Talpas / Language(s): Hungarian

Călata, an area with particular history and folklore, generated a specific, unmistakable architectural style, used especially in the construction of churches. Combining in harmony the Transylvanian tradition of the style and techniques used in the construction of the fortified Saxon churches, those of the Orthodox churches made of wood and of folk architecture in the area, the Călata style refers to churches with slim towers and shingle roofs. Most of these religious buildings, characterized by a perfect harmony of their proportions, most of them built in the Romanesque style and located on the most visible sites of the settlements, represent, even today, the attachment of the inhabitants to spiritual continuity and their homeland in the area of Călata.Five churches, built during the thirteenth and fourteenth centuries, stand out among the complex of such buildings in Călata through the fact that they share a series of architectural elements typical for the late Gothic style, with elements characteristic for the Transylvanian Gothic, with roots leading towards a beginning called the Cârþa Context. It was a puritan Gothic style created in the thirteenth century at the foot of the Southern Carpathians, in the settlement of Cârþa, in Sibiu County. The first Gothic church was built there. The style had been brought by the Cistercian monks in their expansion towards Eastern Europe. The first churches in the south and center of Transylvania were built following the style and building technique employed in the erection of the monastic architectural complex in Cârþa. Prejmer, Hărman, Braºov, Bistriþa and Cluj were the settlements adopting these rules in the building of their own churches.Abandoning the specificities of the Romanesque style, with its robust semicircular arcades, and employing a well-known, traditional building technology, people promoted the newdaring style,with tallwindows, full of light, ending in ogees, decorated with sculpted stone rails. It had ogee-shaped inner vaults, supported by profiled ribs ending in sculpted stone corbels embedded in the church walls and rows of slender pillars.The new style reached Călata later, towards the middle of the fifteenth century.Elements of this style were used in some churches, adapted to the architectural con ditions and dimensions of the existing churches in the area. Five such buildings were extended according to the Gothic architectural style, namely those in Huedin, Mănăstireni, Văleni, Căpuºu Mic, and Dorolþu.The first part of the present book consists of a comparative analysis of these five churches, focusing on the presence of Gothic elements and their preponderance in the complex of the respective edifices. The windows, gates, consolidations with buttresses, ogee vaults, and other stylistic elements are compared, aiming at determining, as much as possible, the motivation of those who promoted the new architectural style in this region.The second part of the book continues the research, from the point of view of the history of technology, with the other three Gothic churches, the ones in Văleni and Mănăstireni being presented in detail in two individual volumes recently published. Archive research and investigations have been performed, but on site measurements predominate. The construction, employed techniques, and stylistic elementsof the three churches, in Huedin, Căpuºu Mic, and Dorolþu were the aim of repeated field trips, measurements, and analyses.The bells in the towers of these three churches are another topic of interest in the present research. The history of these bells and of those preceding them, the circumstances leading to the disappearance of some medieval bells from these towers offer, not only to the authors but also to the reader, a true foray in the past of a craft considered up to the present day a top profession.The nineteenth century clocks placed in three of the five churches under discussion, have been, at the time they were bought, peak accomplishments of technology. The fact that these settlements managed to own clocks indicates that there was a social demand for their installation and there were significant financial resources at hand. The research includes the analysis of the kinematical scheme of these clock mechanisms and a comparison of their stylistic, technical, and technological elements in order to establish their origin.Three churches are thus analyzed in more detail in the present book, but the Gothic elements of the churches in Mănăstireni and Văleni are also presented succinctly for those readers who do not possess the first two volumes of the series which detail the history of technology researches related to the above mentioned settlements.The present volume ends a series of researches in the region of Călata. The three volumes related to the history of technology can be considered as opening new lines of research in the field and for other geographical areas.

Kós Károly, a művészi kovácsoltvas formatervezője

Author(s): László Márton / Language(s): Hungarian

Engineering and creative work of the architect, writer, illustrator, and politician Károly Kós, is analyzed by extensive studies. Spirituality and creativity of Károly Kós, which in all their details are Transylvanians and they are also components of general culture. The architecture of Kós is an essential art, because all its elements, including ornamentation have a central tendency, harmony.In his ornamentation revives the forms of folk art, used in wood carvings, tiles, embroideries of the Szeklerland and Nagykalota regions according to the requirements of material usage.Humans have been using for even over five millennia. In the Middle Ages, the artistic wrought iron used in the structure of European cathedrals is found both in outdoor and indoor spaces. Wrought ironing as an architectural increase, like any other artistic product, reflects the spirituality artistic eras in which it was created.The beginnings of wrought iron use as an architectural ornament relates to the early year of the second millennium, with roots in ancient Greek and Roman era. During the Early Middle Ages, in the Byzantine Christian architecture, this legacy was transposed in a new style, called romantic style.In the twelfth and thirteenth centuries, due to some profound changes a new direction; a new style appeared in architecture, named Gothic. Paintings in the form of semicircular paintings are replaced by broken arch paintings, pointed arch. The changes in construction entail also changes in wrought iron design.In the twelfth century began a radical change in forging ironing due to the use of increasingly large scale water wheel. Heavy hammers of forging workshops are driven by the energy of water wheels.In the fifteenth century, in Italy appears a new artistic trend, the Renaissance. Ancient architectural traditions are found without being copied, and are developed with elements unused by the time. In Transylvania existed all of these conditions as a new style of architecture, to take root and spread rapidly. The art of wrought ironing keeps up with the new architectural style and in the same time creates a characteristically language of expression, in accordance with the architecture.The Renaissance style and the art of wrought ironing as a component of constitutive architecture of the centuries goes in parallel with the past, with a gothic style, but also with the next one, named the Baroque.From an architectural point of view, the era recorded by the history of art is Baroque.The rigorous regular forms, characteristic of Renaissance are followed by irregular style, recorded in the art history as the Baroque style.Nineteenth century is the century in which wrought ironing reached its peak. At the beginning, it could be seen different ways of searching in tradition, inheritance of this art. New styles have arise with an ephemerally lifetime such as empire, romanticism, historizmus, neo-rebirth, neo-baroque, with the respective adherents.As they appear, these styles disappear or remain only as the art of curiosities. Everything happens as a result of industrial development, industrialism, which determines new values and new standard requirements. Art of wrought ironing is to be dominated by commercial elements also creation of this domain is to be limited to single joints.In the second half, of the nineteenth century appears a new style of art, which strongly manifested in architecture and opposes all of the current artists. This trend is secession that is art nouveau. Renounces of the ancient forms are to be followed the model are to be found also in Japanese art and uses ornaments of folk art. Secession as a modern architectural style carries out this recent aesthetic by merging elements of folk art and with Japanese art symbolizes them especially in architecture. Also in the nineteenth century is developing more powerful, the necessity of creating an architectural line, which apart from the current fashion highlights the local national character. The challenges take concrete form in the twentieth century.Historical architectural styles were quickly separated from their place of birth, spreading throughout Europe. National style is the biggest challenge for architects. Since college years, Károly Kós seeks for his path to pursue a career and to be able to create a style of his own. In his architecture dominates large areas, simple, smooth without ornaments. The dimensional proportions of doors and windows, exterior or interior rails of the buildings grids are inseparable parts of the building and make a unique architectural ensemble, specific to the creator. Specific architectural language of the artist opened a way that can be recognized unmistakably without any doubts, over and over again.In Transylvania, the association that gathers craftsmen is guild. In the cities of Fãgãraº, Târgu Mureº, Odorheiu Secuiesc, Miercurea Ciuc, Turda and Aiud are powerfully organizations of guild (strong guild organizations). Here are also included blacksmiths, locksmiths, who deals with wrought iron. During Transylvanian principalities a large number of craftsmen, blacksmiths and locksmiths settled in Sibiu, Braºov, Mediaº, Cluj, Sebeº, Orãºtie. Through their work, these cities have become true centers of wrought iron art. In the nineteenth century it is almost inconceivable that a public building has not got iron elements. Palaces, churches, cathedrals, used increasingly the pieces of wrought iron as the parts of the buildings. Their variety is overwhelming, but even in the twentieth century, the searches, and the experiments in that domain characterize the entire activity.The foundation of our popular medieval art and the architecture, it is our national folk art, said Károly Kós. This actual statement led his whole young life. He declared, that folk art is an organic unity with its creator, the people. Only some people are able to create only spiritually united with the people, the artist can create his own artistic language. He advocates that, Transylvanian folk art is rooted in medieval art.Western European art is to be appeared in Transylvanian, after going through a specific change and became part of the Transylvanian culture and civilization. It is noticed that the carved stones metal objects in for general use have the ornamentation elements of folk art. Therefore, his work can be seen all of the popular ornamentation belongs. All of his works are rustic simplicity, but this simplicity doesn’t reduce its artistic value. Wrought ornate, hinges, handles and shields of them are unique creations, unique buildings to be found.In the field of architecture his activity and philosophy are linked to the spirituality and current architectural of the British architects like John Ruskin, William Morris and Finnish architect Akseli Gallen Kellela. He is an artist, a craftsman and in the same time competent of processing iron. In the design he takes into account these properties of iron.He starts working as an architect in Hungary. Here is he establishing the first project of public buildings, such as the Budapest Zoo Pavilions, the Church in Zebegény, the Parish and prayer house in Óbuda. The District of Veker and the School on Városmajor Street in Budapest, form an architectural unit. Each building is unique in the way in his unmistakable style. Each design is a complete wrought iron work, each element is perfectly lined with the work, which is actually a whole.A feature of his personality is the fact that the projects implemented by Kós are very detailed, with precise construction details. The rustic simplicity, decorative elements of folk art inspired ornamentation features are only summaries of his work. Besides the aspects inspired by folklore, his whole creation has a tendency to evoke a long-forgotten Middle Ages.Handles made of wrought iron are also decorated with motifs taken and processed their own style of the popular art of C?lata and Szeklerland area. Wrought wire handles, shields perfectly match door handles or colonnade of solid oak, with the actually building.In his wanderings in Transylvania he was able to study many relics of medieval construction. Gothic fittings loaded prevailing entire surface of the door has inspired artists in their own style training in the art of wrought iron. The hardware designed by the artist is much simpler, and, at the same time, maintaining the assurance characteristic of safeness and durability. From the house of Stana the hardware shutters are a typical example of rustic hardware.Rails of grids were designed to have dual functionality. On the one hand these provide space limitation function, and on the other hand it embroiders. These gratings are distinguished from any other style through their decorative elements. Birds, stars, flowers, are elements of popular ornamentation.Today, the wrought iron art can have a new revival. Materials are diverse, there are specializations at all levels of education, and there is a model to follow. Creativity of those who practice the wrought iron art today has to meet the customer’s requirements. And only then a productive way will be found, that can benefit everyone.

Kide, a kőből épült település

Author(s): Enikő Bitay,László Márton,Tibor Sándor Nagy,János Talpas / Language(s): Hungarian

The present book is a result of intensive research conducted by the members of the section of technical sciences of the Transylvanian Museum Society. It is the 8th volume of a series, which focuses on the technical history of a small settlement, Chidea.With a history of more than 800 years, Chidea is one of the places where the number of inhabitants is continuously decreasing. The number of people living there used to be close to 800, nowadays there are not more than 140 inhabitants who have permanent residence in the village.Chidea is located in Cluj county, in the valley of the Chidea creek, one of the branches of the Borsa stream. The origin of the name of the village is unknown, it might come from one of the noble men once ruling in the Dabaca region. The first written document mentioning the name of the village, spelled Kyde dates back to 1332, it is a certificate that proves ownership.In the 13th century, the years of the tartar invasion, the fortress of Dabaca and the settlement of Chidea were partially destroyed and the population that couldn't take refuge, was killed.After the withdrawal of the tartars, life went on its course, and the village was trying to recover. To overcome the severe lack of population following the tartars' atrocities, a few dozens of families were brought to the village from the Eastern Region of Transylvania (Hungarian people called Székely) and they took over the defence of the fortress of Dabaca.In Chidea and in its region people have developed a specific craft of shaping the local volcanic (tuff) rock. This rock is relatively easy to work with, and it can be used as building material. Almost everything in Chidea - houses, side buildings (barns, store rooms, warehouses, stables) and even fences have been built of this carved stone.The diverse usage of the stone brought a good name to the local builders and masons who were esteemed even outside the borders of the settlement, throughout Transylvania.Education in the village dates back to the 18th century. Schools were run and supervised either by the state or by the church. Today, after more than 200 years of continuous activity, there isn't any school in the village, owing to the lack of children. The state owned school building was gradually deteriorating, which led to its demolition in the end.In terms of religion, the people from Chidea belong to five denominations. The majority of the population are Reformed, followed by Roman Catholics, Orthodox, Unitarians and Neo-protestants. There are very few parishioners, however each denomination has its own church, or a house of worship. The oldest is the Reformed church, first used by Catholics, then in the 16th century, the period of Reformation - by different protestant denominations. The church was built by the Roman Catholics, as it used to be the religion of the inhabitants in the period.The church was built after 1241, the first tartar invasion, when the previous building was destroyed. The first church of the village was supposedly built about a century before the tartars came.Throughout the years, the church was renovated, repaired and extended several times; the present steeple was raised in the 19th century. Due to some architectural components it is categorized as a medieval church, built in late Gothic style with some Romanesque elements. It is the oldest church in the area.The Orthodox, former Greek Catholic church is built of wood and could be seen as a gem of popular architecture. The church was initially built in a different location, and was pulled on sled to its present place. The church was built at the end of the 18th century.The Unitarian church was built in the 18th century, and the Roman Catholic in the 19th century.The four churches have two bells each, located in the steeples. The oldest of the eight bells is the one in the Reformed church, the so-called Polish bell. According to its inscription, this bell was cast in a town in Poland in 1560 and it was brought (for reasons unknown) to Chidea by Polish refugees, probably after Poland was divided in the 18th and 19th centuries.In the steeple of the Reformed church one can also see a clock, built in 1896 by Szabó József, the mechanic of the Baron Bánffy Ernő from Borsa. The clocks in Borsa and Cristorel - in the valley of Borsa - are also his works. Each clock was engraved with his name and the year of manufacturing. Out of these three, only the one in Chidea is still functional.The mechanic, who made these clocks used innovational techniques in the procedure. Thus he used a pinwheel escapement instead of the Clements regulator, which has a series of advantages in the assembly process. Another peculiarity of the clock is that it uses a snail wheel in the kinematic chain of the clock in order to reduce the number of the cylindrical gearwheels.Another name, the name of the stone carving master Sipos Dávid should also be mentioned. He worked here in Chidea, thus contributing to the fame of the village.He was a true artist with a peculiar choice of ornamental elements, unique in the art of stone carving in Transylvania. Even if his works are singular, they belong to the late Transylvanian Renaissance.His works are found in two of the churches in Chidea, namely a stone carved pulpit in the Roman Catholic church, and a liturgical table in the Orthodox church.There are also stone pulpits presumably from his workshop or disciples in the Unitarian and Reformed churches. This master has carved more than 20 pulpits throughout Transylvania, and also noble coats of arms, emblems, tombstones, door and window arch-ornaments in Cluj, Gherla, etc.In the present book one can read a description of the mill that probably belonged to the writer Nyírő József, a Catholic priest, who - assigned to Chidea - suspended his ministry and worked as the miller of the community for a short while. In the same chapter, one can also read about the manual grounding machines used by the locals for grinding the grains for their animals. It is an important detail that these grinders are handcrafted here in the village, from a rougher type of the same tuff stone, found also nearby.According to its subject the present book could be classified as a work of technical history. In result of the research conducted in the field, the exploration of archive material, and the study of the specific literature we have a more complex image of the village than historians, archaeologists, art historians have formed so far. One could get a full picture of the culture and civilisation of the region only by analysing its diverse complexity.

Пјевање уз гусле

Author(s): Dimitrije Golemovic / Language(s): Serbian

History of Latvian Art Theory

Author(s): Stella Pelše / Language(s): English

This volume is the first in the series of doctoral dissertations initiated by the Institute of Art History of the Latvian Academy of Art and intended to make art-historical research more accessible to a wider public. The book provides an historical survey of ideas in Latvian art theory (1900–1940) so far not examined in detail. General problems regarding visual arts are in focus, particularly definitions of art. Texts under scrutiny have been selected from a wide variety of sources – books, collected articles, magazines, newspapers, unpublished manuscripts, diaries, etc., authored by artists, poets, critics, historians and representatives of other professions. The influx of radical changes in Latvian artistic practice since the late 1980s has also increased the role of theoretical statements, inviting elucidation of historical precedents. Where should one draw the line between acceptable and even necessary “alien” elements and blind submission to foreign avant-garde examples? The conclusion that Latvian culture exists at the cross-roads of the most diverse influences reveals a persistent situation of choice that is not only a matter of the history of art theory but also of theoretical thinking on art in the present.

Nawiedzani przez dym

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

„Nawiedzani przez dym” jest zbiorem esejów dotyczących literatury, sztuk wizualnych oraz problematyki społecznej. Wielowątkowe, niezwykle aktualne i atrakcyjnie napisane obserwacje z perspektywy Paryża, Brukseli i Warszawy pokazują, czym w dzisiejszym globalnym świecie jest dialog międzykulturowy i jak tworzą się wartości zjednoczonej Europy. Agata Araszkiewicz łączy ogromną erudycję ze sprawnym i kompetentnym wykorzystaniem języków filozoficznych i teoretycznoliterackich. Na książkę składają się przede wszystkim felietony pisane od 2003 roku dla „Czas Kultury”, a także kilka powstałych w ostatnich latach tekstów poświęconych najnowszej sztuce polskiej.Agata Araszkiewicz (1971) – autorka rozpraw z dziedziny feministycznej krytyki literackiej i filozofii; tłumaczyła Luce Irigaray. Jej pasją intelektualną i emocjonalną jest relacja matka-córka. W 2001 roku wydała „Melancholię Zuzanny Ginczanki. Wypowiadam wam moje życie”. Związana z czasopismami „Czas Kultury”, „Obieg”" i „Krytyka Polityczna”. Ma swój blog o sztuce Flaneriaa! (www.flaneriaa.blox.pl). Mieszka w Brukseli.

Драматургия на българското

Author(s): Nikoleta Patova / Language(s): Bulgarian

This monograph offers the first of its kind historic and functional research of drama as a constructive, stabilizing and identity-interpreting ideological and artistic structure. To that end, the analyses, apart from the literary and cultural ones, set forth anthropological and social-psychological perspectives, as well, and that explains the multi-spectrum overview of Bulgarian identity during the second half of XIX century. The analysis of identity as an idea, character, sign and the inter-text approach used in the research allow for a large portion of the dramaturgical pieces to be included in new semantic paradigms, to outline unexpected parts of their world of meanings. The text contains various, non-traditional statements about drama as a possibility to interpret the ideas of own and foreign of the Bulgarian national revival and initiates in scientific requisition some little known and researched dramatic works dating from the age of the Bulgarian national revival.Proceeding from the understanding that identity is created in the complex relations between person and society and in inter-societal relations, as well, the monograph analyses examine the complex interaction of identities that the dramaturgical works expose and search for the collective image of the Bulgarian. The proverbial drama and comedy works stand alongside with dramaturgical texts with arguable artistic value, as all of them represent equally effective attempts to offer and form the signs of Bulgarian identity. The literary and cultural interpretation of the artistic texts is intertwined with the new spiritual, social, economic and ideological process during the crucial for Bulgarian society XIX century.The story about the process that Bulgarian national revival dramaturgy uses to mold the idea of Bulgarian is given in chronological order and is divided into four main parts that encompasses the historical past of Bulgarian people, the struggle for religious independence and national stereotypes provoked by it, as well as the complex relations between “own” and “foreign” that are inevitably made clear during periods critical for the community. The attention and analysis in Chapter One – “Dramatic Narratives of the Past: Mythologization and Symbolism”, is directed towards various elements that illustrate the creation of the paradigm of the heroic and the dishonorable. The narrative of the Bulgarian follows the major milestones in the development of community awareness. The heroic characters of Bulgarian national revival drama have their symbolic uses – out-of-context, the characters are perceived as models of the group/national virtues, as carriers of the “national spirit”. An attempt was made to summarize the main characters that come to the figures of the Ruler, the Warlord, the Prophet/Preacher, the Traitor and the Enemy. Bulgarian national revival works create or co-create three of the emblematic national symbols – Rayna Knyaginya, Hadji Dimitar and the first Bulgarian national anthem “Shumi Maritsa”. Chapter Two “Identity and National Symbols” tells of their rising in the light of cultural analysis. The next part “Return to the Present: From Symbolism to Reality” examines the identity-religion relations. The common image of the Greek clergy recreates the national stereotype of the “foreign” – Greek, firmly molded during the struggle for independent Bulgarian church.The final chapter – “Identities: Reality and Desiderations” comments on the Bulgarian national revival projections of modernity. Comedies and social drama pieces expose the confusing otherness. Through those, the drama of choice is followed that originates from the crisis of society readjustment. This final part reveals the Bulgarian fears and longings of Europe. The problematic cores that analyze the “own – foreign” relations are named here. Dramaturgical comments are set forth in the wide thematic field that shapes the questions “Who must we be” and “Who must we not be”. The answer to the former is more difficult to find and that is why it is no accident that Bulgarian national revival drama pieces do not succeed in creating a memorable positive image of the Bulgarian. One of the general contradictions of national identity lies in discovering the balance between tradition and modernity. In the ability to suppress the longings for the foreign and to master the fears of it.Dramaturgy looks for the ideal examples of the Bulgarian in the folklore or in more distant history. The building of identity is a dynamic process that assumes uncertain values in the 1870s. A constant in the molding of the ideas of the Bulgarian is the realized attitude toward it as a ground for pride. The assertion of Bulgarian honor and dignity is now valued as the most positive behavioral model.Bulgarian national revival dramaturgy is one of the most active participants in building the foundation of the Bulgarian national pantheon. The second half of XIX century, when this genre arises and is developed in our literature, is the most dynamic time of the national identity debate. Dramaturgy speaks and implies the significance of the Bulgarian, fills it with dignified content and attempts to predict the threats to national identity.

Szkice o (nie)oryginalności. Konteksty i interpretacje

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

Essays on (non-)Originality reflects on originality itself and on originality of the work of art. Originality is understood here as a relational and redefinable property within historically changeable circumstances and contexts. It is related to the act of questioning the objectivistic or essentialist reading of the work of art and qualities ascribed to it. As a result, also the autonomy, completeness, and independence of the artistic object – and, thus, the fixity of sets of notions used to describe it – have been questioned. “The myth of the work of art in itself” – allegedly capable of self-defining its specificity because of its substantiality – has been replaced here with the perspective of contextual entanglements; within their structure, originality proves to be negotiated instead of being settled once and for all. The questions raised in this text refer to historical ambiguity of originality, contexts of redefinitions, the discourse of modernity, and dilemmas connected to chosen phenomenaof contemporary art, which – paradoxically – longs for originality and simultaneously undermines it in numerous ways. Therefore, the presented contexts of these reflections include both traditional art and the problems that multi-paradigmaticity of contemporary artistic practice, and the hybrid nature of conceptual and interactive art cause within the discourse of originality.

Różnorodni przez sztukę. Edukacja artystyczna w środowiskach zróżnicowanych kulturowo

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

The aim of this collective work is to encourage the readers to reflect on the current state of artistic education – now and looking into the future.

Göç, Kültür ve Yazın

Author(s): / Language(s): Turkish

Bu ortak yapıtta, 26-28 Haziran 2018 tarihleri arasında Portekiz’in en önemli üniversitelerinden birisi olan Universidade de Lisboa’da çok geniş ve alanda disiplinlerarası bir katılımla gerçekleşen TMC2018 Lizbon (The Migration Conference-Göç Konferansı) sunulan birbirinden özgün çalışmalar, izleksel olarak bir araya getirilmiş ve hakem kurulu tarafından yeniden gözden geçirilerek, yapıt yayıma hazırlanmıştır. Yapıtta roman, öykü, sinema ve kültür incelemelerinden oluşan ve geniş bir yazınsal evreni kapsayan bir editör yazısı ile birbirinden ilginç on tane bölüm yer almaktadır.

USUNĄĆ DO 30 DNI

Author(s): Zofia Smełka-Leszczyńska / Language(s): Polish

Obecność plakatów wyborczych jest elementem rytuału demokracji. Należą one do współczesnej ikonosfery, są traktowane jako irytujący, ale konieczny rekwizyt demokratycznego spektaklu. Czas ich życia w przestrzeni publicznej jest krótki – pojawiają się w kampaniach wyborczych zaledwie na kilka tygodni. Po ich zakończeniu są usuwane przez nadawców (zgodnie z przepisami powinno to nastąpić w ciągu 30 dni od ogłoszenia wyniku wyborów), zaklejane następnymi reklamami albo zdzierane w części bądź w całości przez konkurencję polityczną lub publiczność.Ze wstępu Autorka stara się nie tracić z pola widzenia głównej idei, iż świat, w którym żyjemy, jest rzeczywistością nastawioną na interpretację, a więc sens semiosfery wynika z wzajemnego sprzężenia nadawczo-odbiorczego teksto-obrazów, wśród których upływa nasze życie zwane „uczestnictwem w kulturze”.Z recenzji prof. Wojciecha Burszty Autorka poddaje analizie zarówno znaki i symbole graficzne obecne na plakatach, jak ich język. Zwraca uwagę ,że ów „test wyborczy” podlegał ewolucji wraz ze zmianami zachodzącymi w demokratycznym życiu publicznym. Od odwołań do najszerszej wspólnoty narodowej, której desygnatem była odmieniana w 1989 r. przez wszystkie przypadki „Polska”, poprzez wyodrębnienie stanowisk poszczególnych sił politycznych reprezentujących konkretne wartości i wskazywanie ich wroga, do komunikatów maksymalnie ogólnych, nastawionych na pozyskanie jak najszerszego poparcia dla haseł, które trudno zakwestionować.Z recenzji dr. hab. Jana Skórzyńskiego

Религия и образование. История, традиции и съвременни тенденции

Author(s): / Language(s): Bulgarian,Russian,Polish

This proceedings present the results of the international scientific conference „RELIGION AND EDUCATION IN THE PAST AND TODAY“, organized and conducted by the Department of Theology of the Faculty of Philosophy and History of The „Paisii Hilendarski“ University of Plovdiv, held between the 15th and the 17th of November 2018. The conference was attended by representatives of all Bulgarian Universities, where Theology is taught, but also was attended by colleagues from related majors - pedagogy, history, philosophy, sociology, art history, history of music, architecture - from Bulgaria and from Russia, Ukraine, Poland, and USA. A separate section was formed, where the scientific and practical contributions of teachers teaching religion took center stage. We begin with „Historical and Contemporary Aspects of Religious Education“, where an attempt is made to describe the current state of the problem and to formulate the main challenges. The section „Religion and Tradition“ includes texts that trace the vivid historical examples of teaching - from the New Testament era to the twentieth century. The central section „Religion and Moral Education“ follows, in which different approaches and results in the work with specific groups and in different historical and social contexts are discussed. The section „Education in Religion and Secular Education – Pedagogical Approaches, Social Realities, Philosophical Projections“ further develops the topic by collecting texts problematizing the place of religion in the general education school and the possible pedagogical, normative and practical cases it raises. The collection ends with the section „Christian art - educational and theological aspects“, where the possibilities of using art as a way to better involve different groups of students in religious education, but also outside it, are presented and discussed. It raises important questions for theology and pedagogy for today‘s world, and offers possible ways to solve them. We hope that this second volume of the series will generate both scientific and public debate and will serve for the better integration of religious education in the Bulgarian school.

(Trans)pozycje idei w postjugosłowiańskim dramatopisarstwie oraz teatrze (1990–2020). Perspektywa transkulturowa

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

The Post-Yugoslav playwriting and theatre production constitutes a space which facilitates observation of the transposition of artistic, socio-political and philosophical ideas. Those phenomenon stems from cultural mobility, the integration of multiple components coming from different cultural backgrounds and involves the creation of new qualities. The fundamental research principles in this case are the perception of culture as a process of exchange and the implementation of the open connection networks model. The discussed artistic projects of playwrights and theatre directors active in the countries of the former Yugoslavia confirm that this phenomenon is still in the nascent stage. Its dynamic formula is a good starting point for reflection on the flows and ideological and aesthetic links that are becoming apparent in the drama and theatre of many European countries.

Autour et à travers / În jurul și de-a lungul. Actes du Symposium "Autour et à travers", CRU TUIASI

Author(s): / Language(s): Romanian,French

The volume brings together some of the presentations made during the symposium "Around and Across" organised by the Centre de Réussite Universitaire of "Gheorghe Asachi" Technical University of Iasi as part of a larger project, entitled Transversal(ité) dans l'Univers(ité), supported and funded by the Agence Universitaire de la Francophonie in Central and Eastern Europe in 2021-2022. The general topic of the volume - circularity and linearity in sciences and arts, and in knowledge in general - was intended to be approached in a trans-disciplinary or in a multidisciplinary perspective.

Rainbows on Rugged Terrains: Poetics of Queer Iranians in Exile

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

This book is featuring poetry from queer Iranians in exile in Turkey, the UK, and Canada. These poems are the outcomes of group workshops, whether in person or remotely created as part of the research project “Negotiating Queer Identities Following Forced Migration” (NQIfFM). They vividly portray the participants’ experiences of persecution and discrimination based on their sexual orientation, gender identity or sex characteristics, both in Iran, which they were forced to leave, and in the countries of transition or resettlement.

Kultura muzyczna ewangelików na Śląsku Cieszyńskim w pierwszej połowie XVIII wieku. T. 2: Zachowane utwory wokalno-instrumentalne z repertuaru Kościoła Jezusowego (1710–1740)

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

The discovery of unknown musical manuscripts in the archives of the Church of Jesus in Cieszyn (Teschen) in 2008 was an impulse to undertake a comprehensive scientific research. In the light of these studies, the eighteenth-century Cieszyn appears to be one of the main centers of Protestant musical culture in Silesia, radiating throughout Upper Silesia and its neighboring regions. From 1710, despite many difficulties, Cieszyn cantors managed to create a thriving vocal and instrumental ensemble and provide a musical setting for celebrations and services at a high artistic level. The so-called "Cieszyn cantatas", the surviving works from the then repertoire, are living testimony to this fascinating chapter in the history of music.

Korespondencja Fryderyka Chopina. Tom 3, część 4

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

'Frédéric Chopin’s Correspondence' is a three-volume, multipart publication, which contains composer’s letters with autograph reproductions, preserved in museums, libraries and private collections. The letters are accompanied by substantive comments of Polish Chopinologists, who worked to prepare the entire publication for 23 years. The correspondence has been organised chronologically. The third volume is published in four parts which include – part one: the letters written between June 1839 and December 1843, part two: the letters written between January 1844 and December 1847, part 3: the letters written between January 1848 and September 1849, part 4: summaries of the missing letters, biographical notes, miscellanea, bibliography, illustration sources, indexes. At the end of part three there are letters from and to Frédéric Chopin, whose dates are unknown, as well as supplements, i.e. letters previously inaccessible.

Edukacja tancerzy klasycznych w polskich szkołach baletowych

Author(s): Katarzyna Sadowska,Dominika Babiarz / Language(s): Polish

Although ballet has been present in Polish culture since the 16th century, the Polish publishing market still offers few studies on artistic education in the field of dance. Moreover, dance itself, especially classical dance, is not given its rightful place in the pedagogical theory of aesthetic education. Despite many years of calls for reforms in the area of artistic education in Poland, including ballet, these demands from groups requesting reforms remain unaddressed. It is also worth mentioning the dilemmas related to the profession of a dancer in contemporary Poland, such as the low social status of the profession itself, short stage careers, the high level of injury, the mismatch between dance education and the requirements of the labor market, competition from foreign dancers, and the eradication of early retirement. In Poland, an important problem linked to the issues discussed is the long-term marginalization of art in public education, which results in an unsatisfactory social level of participation in high culture. The pedagogical monograph method has been adopted to describe the education of classical dancers in Poland in terms of its current state, challenges, dilemmas and innovations. The subject of the research was ballet education in Poland. This study is a proposal to draw attention to selected aspects of ballet education that the author deems particularly important.