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With the author’s literary and musicological background, the chapter demonstrates her own search for adequate tools to explore artistic projects of a transgressive nature, commonly referred to as borderline phenomena.
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The chapter reasserts the inexorable affinity and proximity between the verbal and the visual in Pettibon’s work while questioning some persistent notions on the differences between language and non-verbal sign systems.
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The chapter employs a cognitive poetics approach to look at a poem by Donald Hall who ekphrastically represents The Scream by Edvard Munch.
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The chapter looks at fascinating examples of intersemiotic experimentation in books published by the Gaberbocchus Press. It asks the question how the visual presentation influences our perception of literature.
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The chapter traces the history of the Baconian-Friedman ciphering, and shows that the practice of translating anything to anything has found its way to poetry, painting, and experimental cinema, as can be exemplified by Stefan Themerson’s Semantic Poetry.
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The chapter concerns the literature-music interface, presenting the problems that can be encountered in translating songs with reference to German Leider.
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The chapter discusses the issue of literature musicality understood as mutual transposition of semantic and aesthetic information from music into fiction.
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The chapter reflects on an analogy between interlingual translation and film adaptations of classical novels in the context of intersemiotic translation.
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The chapter attempts to describe similarities and differences between H. C. Andersen’s fairy tales and their radio plays by the Slovak Radio.
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The chapter analyses how various semiotic systems work inside a radio play on the basis of the BBC radio production entitled Noise (2012) by Alex Bulmer.
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The chapter offers a semiotic reflection on the aspects of serialization and multiplication of Stanisław Ignacy Witkiewicz’s portrait representations and their photographic transpositions.
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The arts have accumulated forms of artistic thinking through specific language, being influenced by the fundamental aspects of the material and spiritual life of man, representing over time the evolution of his social and individual consciousness. The oldest way of human sound communication is considered by specialists to be, along with the verbal one, the musical expression. The sounds of vocal music were the first ways to make interpersonal connections. Later, along with the voice, the man used tools that mbecame musical instruments over time. In a continuous evolution and improvement of vocal and instrumental perfection, man has created a language of sounds, which knows no boundaries, being universal and understood with equal ease on all the meridians of the world. Conceptually, specialists in the fields of psychopedagogy and the arts have advocated for the inclusion of the arts in the education of children and adults. Over time, it has been found that the aesthetic ideal has influenced the pedagogical ideal, that art has played the role of the author of the human spirit and has been a fundamental means in the evolution of social life.
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The human voice is a true miracle that lives in the human body, the most important, the most beautiful and the most perfect instrument created by nature, an instrument that cannot be matched, a true treasure that must be treated with great care and respect. The human voice is one of the biggest puzzles, and this is primarily due to the fact that we can not see its origin at the time of formation or the trajectory insideus. The stamp of the human voice is one of the elements that mark the unique identity of the individual, it is the one that can reveal human characters, behaviors, feelings, desires, anxieties, depressions, emotions and has the ability to enchant, to seduce, to stimulate, to critique or create characters. The more delicate the natural voice, the more assiduous will be the work and the preoccupation to keep its original freshness, because the sung voice develops, is cultivated through study and can acquire new valences and qualities.
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The present research aims to analyze the thematic structure and mediatic diversity of a segment of case studies based on the exhibition activities in the Aparte Gallery of "George Enescu" National University of the Arts in Iasi, respectively artistic projects made by students, professors or guest artists at the Faculty of Visual Arts and Design, in the last 15 years, projects seen as ways to channel nowadays intergenerational educational efforts. Beyond the variety of artistic formats that include exhibitions, workshops, conferences, symposia, and artistic residencies, these creative events encourage the experimentation and interdisciplinary artistic research of young artists within the Faculty of Visual Arts and Design or from the local, national and international art scene. The purpose of this article is to relate the thematic diversity of these formats of artistic events, with the institutional context of university and contemporary art education, marked by specific searches for new artistic medius, adaptation to digital culture and today’s economic and social realities.
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An extremely interesting and captivating aspect is that of the conceptions on numbers in the great schools of thought of European culture, similar to those in Asia, Africa, the two Americas, Australia and Oceania. With immemorial roots, these theories regarding the nature and purpose of numbers in the manifest world have always had a complex nature, which included philosophical, mathematical, theological, as well as artistic aspects. "Cultural archaeology" studies I have been conducting over two decades have confronted me with the evidence of such a compositional and symbolic science which supposes the conjugation of certain doctrinaire elements with their geometric and symbolic projections, as well as relationships with multiple areas of existence, the numerical principles of this sacred science being found in the constituting patterns of the vegetal or animal realm, while also conditioning the growth proportions of the human body.
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In this article I focus on examining the reception of Roberto Rossellini’s films in Polish film journals (period: 1946-1956) and cultural magazines. The analysis shows that while Rossellini’s first post-war film – “Roma città aperta” – was positively received in the People's Republic of Poland until 1949, from the early 1950s onwards – i.e. during the Stalinist period – there was a rather critical turn, as Soviet cinema and the poetics of socialist realism came to the fore. From this moment on, Italian neo-realism was accused of pessimism and of having lost its “great revolutionary prospects”. This critical attitude changed during the so-called thaw period, when neorealism became a kind of reference model. However, because of their explicit religious themes, some neo-realist films were not allowed by the censorship in the Polish film circuit; as a consequence, some Rossellini’s films were never screened in cinemas in the People’s Republic of Poland.
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In Tunisia, as in the Maghreb, the ancient performing arts consist mainly of instrumental vocal music, theater, sung poetry and other forms of oral and bodily expression including music, the art of speech and storytelling, and Sufi dances. These artistic forms cover many cultural expressions that constitute the intangible cultural heritage of each country. Among these sacred ancestral forms, we cite La Hadhra, which is a show based mainly on Sufi songs accompanied by dance movements. This show, originally sacred, continues to be adapted by several Tunisian artists in order to modernize it and bring it to the taste of the public. This modernization occurs mainly through the addition of new scenic, aesthetic and musical elements which leads us to witness the passage of the Hadhra from ritual to spectacular.
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Augustin Popaescu (1938-2017) was an important personality in Romanian research in constructions which established itself as one of the great specialists in the theory, design and experimental tests of prestressed concrete elements. His scientific activity was complex and was characterized by concern to find new research directions of major interest worldwide. He proposed new technical solutions, many materialized in the patents and is concerned about the implementation of new technologies in the execution of prestressed concrete elements. His scientific and professional activity recommends him as a model of excellence in this field, which deserves to be better known, both by future generations of specialists and by the engineers of the present period.
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The article examines the activities of the Bulgarian painter Boris Mitov Eliseev (1901-1978) immediately before and after his establishment in the United States in 1937. Focused entirely on the European modernism of the Paris School of the early twentieth century, the fate of every freelance artist in Bulgaria was inconceivable without constant attempts to expand the horizon and continuous exchange between the center and the periphery. Boris Eliseev's decision to settle overseas marked the end of his career as a freelance artist in Bulgaria and he returned to painting only much later, towards the end of his life. Without claiming to be exhaustive, the article reviews some of Boris Eliseev's early initiatives to present Bulgarian art in the United States, most notably the first Bulgarian exhibition in New York in 1938. These events are the initial major markers of his life outside his homeland and their results determines the painter's development in the new environment, respectively its remoteness from the center.
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The article presents the dramaturgic strategies in the play “Crimea” by the Sztuka Nowa Association. The creators – Vera Popova and Małgorzata Trajkowska – take viewers on a journey across and beyond borders, into distant times and the recent past, as well as through language barriers resulting not only from cultural differences, but also from the fundamental difficulty of translating emotional experience into words. Refraining from a political theater, the artists create a play, which deals with the subject of the recent annexation of Crimea by Russia. At the same time, as in the autotheatre Joanna Krakowska’s theory, they talk about their own, intimate experiences related to the trip to the Black Sea coastline. They present a journey that takes place not only in time and space, but also in emotions and experiences of their bodies. Fueled by the beauty in melancholy of Julia Kristeva's theory, the play is at the same time ironically distanced and grotesquely humorous. Numerous postdramatic solutions situate the performance in a historical, sociopolitical, personal, aesthetic and existential narrative at the same time. Physical theater, Popova's and Trajkowska's motherland, is related to body art and dance techniques. Therefore, their art might be analyzed with the Daniel Sibony's idea of dancing between two bodies: one remembering and one present, but also with Dorota Sajewska’s theory of the body as an archive.
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