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О некоторых предметах декорировки костюма и украшениях конца XIII — начала XV вв., связанных с золотоордынской традицией

О некоторых предметах декорировки костюма и украшениях конца XIII — начала XV вв., связанных с золотоордынской традицией

Author(s): Svetlana S. Ryabtseva / Language(s): Russian Publication Year: 0

The items of costume decoration and adornments, produced in conformity with the Golden Horde traditions were spread quite widely, from the Volga region to the Balkans. They were worn by both the elite and the plain people. In some cases, local imitations are presented. Some of them (for example, metal tops of caps, earrings in the form of a question mark, a number of plaques for clothes, belt and bag) could be worn by the Adygei, Polovtsi, Early Russians, Lithuanians, East Romance and mixed Balkan population (up to Bulgaria and Macedonia).

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Терминологический аспект в изучении однонефных храмов средневекового Крыма

Терминологический аспект в изучении однонефных храмов средневекового Крыма

Author(s): Vladimir P. Kirilko / Language(s): Russian Publication Year: 0

Smaller churches with one apse and the nave rectangular in plan — undomed and without pillars to divide its internal space in bays — are the most common type of medieval churches in the Crimea. Such religious structures, rather diversified, are spread across the peninsula and include the majority of all existing churches today. The choice of terminology plays an increasingly important role in their studies, due to controversial use of such terms as ‘basilica’, ‘single-nave basilica’ or ‘basilica-type building’ to define them. The present study led to the following three conclusions. 1. When making a choice between functional and architectural approach, if a definition of an archaeological object is required, the second approach should be preferred. 2. It is unacceptable either to refer to those church structures, which do not have such characteristic features as ‘basilican section’ and ‘basilican lighting’, as basilicas, or to attribute them to ‘basilican type’, in order to avoid distorting the mere idea of it as a structure and its architectonic. 3. ‘Single-nave temple’ seems to be the most suitable term to use for the typological identification of such buildings (or, the full term would be: ‘a church, rectangular in plan, with one-part nave and a semicircular/faceted ‘apse’), or a ‘chapel’.

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Образно-сюжетный репертуар восточноевропейского скифского звериного стиля: принципы и результаты классифицирования и кодирования

Образно-сюжетный репертуар восточноевропейского скифского звериного стиля: принципы и результаты классифицирования и кодирования

Author(s): Anatoliy R. Kantorovich / Language(s): Russian Publication Year: 0

In the context of steady growth of the archaeological material, the systematization and classification of the array of images of the Scythian-Siberian animal style becomes very important in order to create the uniform language for its description. The article presents an algorithm for classifying this source and substantiates the taxonomy and hierarchy of classification levels. The article presents main results of the classification of 2207 full-figured and reduced images of the Eastern European Scythian animal style (within the Scythian archaeological culture), identifying 345 morphological types. It is demonstrated by what way a set of images of the Scythian animal style can be formalized with the help of alphanumeric code. It is proposed to apply these principles of classification and coding to other local variants of the Scythian-Siberian animal style, which will provide a consolidated basis enabling their comparison.

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Об особенностях морфологии и декора «волынских серег» с тиснеными подвесками

Об особенностях морфологии и декора «волынских серег» с тиснеными подвесками

Author(s): Svetlana S. Ryabtseva / Language(s): Russian Publication Year: 0

The “Volhynian type earrings” are typical for the full jewelry dress of the population of Eastern Europe in the 10th — the beginning of the 11th century. We put the attention for the decorations with a hollow pendant, welded from two halves, which we selected in type “A” of “Volhynian earrings”. Their production on the territory of Old Rus’ is confirmed by finds of dies from the burial of a jeweler in the Peresopnytsky cemetery in Volhynian and at the Gnezdovo settlement in the upper reaches of the Dnieper River. Outside Eastern Europe, such decorations are known from the territory of Poland, Hungary and Sweden.The studied items vary by overall dimensions, design of the rings and suspension. The rings are especially different in size and set the decorating parameters, whereas the suspension, for all its morphological differences, does not differ much in length. There are two variants for rings. The first is a smooth ring. The second one is a smooth ring, unchained in the lower part; one more element is attached to it, creating the effect of “lunula”. Rings with lunula are very characteristic for this type of jewelry. Variants with simple rings are less common, but they bring these products closer to other varieties of “Volhynian earrings”. Pendants are significantly different in proportion (there are more elongated, there are broad, squat) and decor characteristics. Judging by the sufficient variability of the pendants, there were quite a few masters with dies and skills for making these complex elitist ornaments.

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Cultural Encounters and the Role of Art in Yugoslav-US Relations 1961-1966
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Cultural Encounters and the Role of Art in Yugoslav-US Relations 1961-1966

Author(s): Stefana Djokic / Language(s): English Publication Year: 0

This paper discusses the role of art in Cold War diplomacy in Yugoslav-US relations between 1961 and 1966. During the 1960s, culture was often, sometimes unwittingly, at other times intentionally, infused with the politics of the Cold War. According to one line of existing scholarship, the rise of US art after WWII and exhibitions of American art abroad amounted to cultural imperialism and a “profound glorifying of American civilization.” These historians persuasively identified the political motives behind the exhibition strategies of American museums, such as MoMA’s promotion of Abstract Expressionism through the International Program of Circulating Exhibitions (established in 1952), or the US Government’s Central Intelligence Agency endorsement of US art through its offices around the world. Accordingly, Abstract Expressionist works were staged as par excellence representations of America’s democratic values, where the messages of freedom and individuality behind the works of such artists as Jackson Pollock were contrasted against the tyranny and totalitarianism of the USSR. Indeed, John Hay Whitney, Chairman of the Museum of Modern Art, explicitly stated that the role of the Museum and of art is to “educate, inspire, and strengthen the hearts and wills of free men in defence of their own freedom.”

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Double-Sided Encolpion with the Virgin and Child and Three Saints in the Collection of the Princes Czartoryski in Krakow

Double-Sided Encolpion with the Virgin and Child and Three Saints in the Collection of the Princes Czartoryski in Krakow

Author(s): Mirosław Piotr Kruk / Language(s): English Publication Year: 0

One of the most precious Byzantine objects in the collection of the Princes Czartoryski Museum in Krakow is the double-sided pendant in the form of a carved wooden medallion (9.8 × 7.2 × 1.5 cm) with a refined openwork filigree silver-gilt mount studded with pearls and garnets (inv. no. MNK XIII-475). There is a depiction of the Virgin and Child on the front and of three saints with a temple model on the back. Its features suggest that it was made in the second half of the 18th century, probably in one of the monastic centers on Mount Athos, perhaps at Simonopetra or — even more plausibly — at Hilandar; and all the more so if the figures depicted in the medallion actually are St. Sava, the first Serbian Archbishop, and St. Simeon, his father and the first Serbian king.

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Золотые колты с изображениями святых: манера исполнения и неизвестные особенности стиля

Золотые колты с изображениями святых: манера исполнения и неизвестные особенности стиля

Author(s): Ljudmila V. Pekarska / Language(s): Russian Publication Year: 0

Jewelry bearing images of saints, publicized in academic circles but without any greater study, are presented here in detail for the first time. Additional information has been introduced where such detail has been lacking on those found in foreign collections. The images, their forms and design compositions, characterizing the work of the Kiev’s princely workshops of the 11th—12th centuries, are analyzed. Attention is focused on separate stylistic features of manufacturing, previously unresearched.The study allowed us to conclude: that there were cases of stencils being re-used; that manufacturing to order of a pair of kolty by two masters took place — the main specialist, who was highly proficient in his drawing and cloisonné technique and his assistant, who was still gaining skills in producing such jewelry. This would explain the reason for stylistic differences in the details of face designs, garment decor and enamel tones.A new interpretation of Vladimir’s kolts of the 12th century is proposed, revising the prevailing school of thought in literature about their provincialism and imperfection.

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Етномузикология за етнолози
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Етномузикология за етнолози

Author(s): Natalia Rashkova / Language(s): Bulgarian Publication Year: 0

The focus of this paper is on the specific thematic aspect of the author's lecture course on Ethnomusicology among the Ethnology specialty disciplines at the Paisiy Hilendarski University of Plovdiv. The conceptual contribution of Prof. Todor Iv. Zhivkov to the systematic development of the teaching program for this university specialty is highlighted. Teaching ethnologists Ethnomusicology focuses on the most recent and up-to-date scientific progress in this area related to the anthropological approach to music. In the course of education, the students create competences for recognition, observation, and analysis of the ways of expressing basic parameters of culture through the music. The mechanisms and the meaning of the musical activities in a particular type of culture (the traditional one) and in the contemporary events of musical cultural inheritance are outlined.

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Labin ili izvedba undergrounda kao jedan od modusa otpora izolaciji/periferiji

Labin ili izvedba undergrounda kao jedan od modusa otpora izolaciji/periferiji

Author(s): Suzana Marjanić / Language(s): Croatian Publication Year: 0

Using the example of the town of Labin in Istria, I demonstrate how isolation, the so-called periphery, can also serve as an expression of resistance in a cultural niche. The collective Labin Art Express (L.A.E., initiated by Dean Zahtila, late Krešimir Farkaš, Graziano Kršić) is the initiator of the fundamental L.A.E. project Underground City XXI ‒ independent underground Labin cultural city as an alternative to the existing above-ground, heteronomous Labin, i.e. the creation of a real city 150 m below the earth’s surface ‒ in underground halls and tunnels, carved in solid rock, connecting Labin, Raša, Plomin and Rabac, with streets, bars, galleries, swimming pools, playgrounds for children, shops, restaurants, the Museum of Mining and Industry of Istria. Thereby we can compare Labin in terms of urbanity and anthropology with the town of Katowice, which in 2018 was selected to host the most significant UN Climate Change Conference, following the 2015 Paris Agreement. Katowice were chosen as one of Europe’s most polluted sites due to the exploitation of coal i.e. the transition of the aforementioned town from a mining and industrial site to a modern industrial, economical, technological and cultural centre.

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ДУХОВНО-ЭСТЕТИЧЕСКАЯ ЗНАЧИМОСТЬ ХОРОВОГО ИСКУССТВА  И ЕГО ИЗУЧЕНИЕ В ДМШ

ДУХОВНО-ЭСТЕТИЧЕСКАЯ ЗНАЧИМОСТЬ ХОРОВОГО ИСКУССТВА И ЕГО ИЗУЧЕНИЕ В ДМШ

Author(s): Ana Glebov / Language(s): Russian Publication Year: 0

This article examines the spiritual and aesthetic significance of choral art in the process of studying music schools for children. Studying B.V. Asafiev, A.F. Losev, I.F. Gagim denotes the problem of spirituality seen through the process of internalizing music, knowing the intonation essence of choral art, as well as the spiritual, aesthetic and inner content of the vocal and choral culture of a student of music school for children.Keywords: spirituality, choral art, music school for children

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Chanteuses françaises des années 2010 : un comique « genré » ?

Chanteuses françaises des années 2010 : un comique « genré » ?

Author(s): Catherine Gravet / Language(s): French Publication Year: 0

The history of French song is a heritage of unforgettable texts very often written by men, sometimes for women. Female singers, authors, composers and performers, however, are taking on an increasingly important role, to the point that female researchers are talking about "matrimony". This emergence of women in French song often involves comedy: black humour, false naiveté, offbeat irony, even sarcasm impose a different vision of the world from that of men or put a distance from an alienating universe dictated by the patriarchal tradition. Yet, song, the art of incarnation, is a poem like no other, it needs the performer's voice, or even her body, and current recording and broadcasting techniques completely change the public's perception. A few case studies should enable us to better understand the specificity of some texts written and performed by women in terms of irony. Several themes closely linked to the body seem recurrent to us, such as motherhood, adoption, childbirth or abortion, in a firmly provocative stance: why are Laurie Peret's song, "Un, deux, trois" (2017); Laura Laune’s "La Rupture" (2017); GiedRé’s "Pisser debout" (2011) or "Ode à la contraception" (2014) so shocking? They are both provocative and subversive, they defy the rules of propriety, and their assumed vulgarity bewilders.

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Ironie et humour populaire – de la critique sociale à la guerre politique

Ironie et humour populaire – de la critique sociale à la guerre politique

Author(s): Mariana Anastasiei / Language(s): French Publication Year: 0

Comedy, laughter, is both a presence and a social necessity. Irony, humor, joke, satire, caricature are all forms of manifestation of laugh in art and society. Art of relationing by excellence, comedy supposes, in order to achieve its purpose, an emitter and a receiver equally informed and competent. The purpose of this work is to follow the evolution of this relationship of complicity when the transgression of art frontiers occurs.

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CHANTING THE ”PSALMS”: PRAYER AND WORSHIP AS EXAMPLES OF TRANSPERSONAL, INTRAPERSONAL AND INTERPERSONAL COMMUNICATION

CHANTING THE ”PSALMS”: PRAYER AND WORSHIP AS EXAMPLES OF TRANSPERSONAL, INTRAPERSONAL AND INTERPERSONAL COMMUNICATION

Author(s): Rossella Marisi / Language(s): English Publication Year: 0

The ”Psalms” is a collection of poems-prayers which is part of the Bible: many of them are included in the Christian Liturgy of the Hours and have therefore a central role in Christian worship. The present study is not focused so much on the religious content of the Psalms, on the peculiarities of their texts or on the different melodic formulae used in chanting them, but it is rather based on the consideration that Psalms can be regarded as examples of transpersonal, intrapersonal and interpersonal communication. They regard the personality as a whole, in its integrity

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EXPRESSIONISM INFLUENCES AND EXPERIMENTS IN CONTEMPORARY DANCE

EXPRESSIONISM INFLUENCES AND EXPERIMENTS IN CONTEMPORARY DANCE

Author(s): Anca Iorga / Language(s): English Publication Year: 0

The world of dance has been influenced by the artistic revolutions of early 20th century. The performances of that period rejected the artificially elaborated technical constructions which limit the evolution of dancers, promoting the freedom of movement. In the same period, appear an avant-garde movement known as expressionism, which will revolutionise the art performance by approaching new forms of expression. Therefore, a new concept show up – Tanztheater. It is used for the first time around 1927, for the choreographic works of Kurt Joos, to identify an emerging dance style within the new forms of expressionist dance. Expressionism opens new perspectives in the world of theatre and dance through the improvement of scenic expression means, by employing new procedures and techniques to create the plot, the conflict and the characters. Dance theatre is rather the fruit of the need of the dancer, actor or performer to assert themselves as a complex artist, capable to embody messages and convey them by using a variety of codes, symbols and movement techniques, than of the desire of the choreographers to engage in a collaborative effort with other artistic fields. Dance theatre performances individualise by short, mostly imaginary moments of dialogue and action. Besides dancing on stage, performers sing, talk, scream and sometimes even laugh or cry hysterically. Repetition is also a means to structure the dance theatre choreographies. Repetition of dance phrases, whether identical or following changes in the sequence of movements in the phrase, adds more drama to the story to be acted out. German expressionism influences are introduced to our country by the work of two Romanian dancers of German descent, Iris Barbura and Katherine Hän. Their experience inspires choreographer Miriam Raducanu, who primarily acquires and subsequently develops this form of expressionist dance, passing these knowledges to her students, Raluca Ianegic and Gigi Caciuleanu

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MUZICA DE DIVERTISMENT ÎN EDUCAȚIA MUZICALĂ DIN ÎNVĂȚĂMÂNTUL DE CULTURĂ GENERALĂ DIN ROMÂNIA

MUZICA DE DIVERTISMENT ÎN EDUCAȚIA MUZICALĂ DIN ÎNVĂȚĂMÂNTUL DE CULTURĂ GENERALĂ DIN ROMÂNIA

Author(s): Eugenia Maria Paşca / Language(s): Romanian Publication Year: 0

Entertainment music with vocal, vocal-instrumental or instrumental repertoire is a concern in general culture education in Romania. This phenomenon is gratifying because it shows the increased interest for a serious approach to music education outside vocational high schools, welcoming students who want to study the mentioned musical genres, social networks being full of their ads and videos and images from their events, - true shows, which, in the end, stimulate the study of students, a quality musical culture, eliminating the pseudo-creations from the preferences of young people and future adults

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FACTORII IMPLICAȚI ÎN PERFORMANȚA ACTORULUI PE SCENĂ

FACTORII IMPLICAȚI ÎN PERFORMANȚA ACTORULUI PE SCENĂ

Author(s): Gianina Eliza Burghelea / Language(s): Romanian Publication Year: 0

This debate is part of a doctoral research plan in the field of psychology applied to theater actors, in which I would like to analyze the factors that are involved in the performance of the actor on stage. To the same extent, I aim to identify the relationship between theatrical acting and social acting, the formation and determination of the preferred style of interpretation of the character and the application of coping strategies to actors. I also analyze cognitive changes, behavioral efforts, and the management of specific external and / or internal emotional situations. Training the actors through coping strategies can be an additional determining factor to remove anxiety, to get inner relaxation and at the same time to improve the concentration, which help them to achieve a combination of spontaneity, commitment, and awareness and finally to achieve a high-performance.

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CORNIȘTI VIRTUOZI, PROFESORI ȘI COMPOZITORI  ÎN ROMANTISMUL MUZICAL

CORNIȘTI VIRTUOZI, PROFESORI ȘI COMPOZITORI ÎN ROMANTISMUL MUZICAL

Author(s): Petrea Gîscă / Language(s): Romanian Publication Year: 0

In musical Romanticism, the horn instrument developed a lot. The chromatic horn appeared due to the invention of the valve by the inventor Heinrich Stölzel. Horn performers were trained in the European Schools, becoming very well-known and appreciated at the main princely courts. Many of the horn performers were prolific composers for the horn and at the same time dedicated teachers for their art. Horn schools flourished during this period, laying the foundations of the European Horn Schools of the twentieth century. In our country, the buds of the Horn School appeared in the middle of the last century, when the first horn performers were formed

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PRIVIRE DE ANSAMBLU ASUPRA BAROCULUI MUZICAL

PRIVIRE DE ANSAMBLU ASUPRA BAROCULUI MUZICAL

Author(s): Iulian Horez / Language(s): Romanian Publication Year: 0

After a brief presentation of the social situation that appeared at the beginning of the Baroque, we framed the current in the historical period - being located between the end of the 16th century and the middle of the 18th century - after which we defined the term baroque and specified the etymology of the word. Also, in this first introductory part we talked about how the Baroque evolved first in the other arts - architecture, painting, sculpture, theater, dance and literature - and then with strict reference to the art of music. We followed a periodization of the Baroque, made according to some musicologists as follows: an early period that is characterized by the gradual transition from choral polyphony to accompanied monody and is distinguished by highlighting a single melodic line, which makes possible the appearance of opera and vocal genres- symphonic, such as the oratorio and cantata; a middle period in which the development of opera, ballet opera, court ballet, but also instrumental music takes place; and a late period of synthesis, which fixes the concept of tonality through the two basic modes: major and minor

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ANALIZA COMPARATĂ A INTERPRETĂRII  STUDIILOR DE CONCERT NR. 2 ȘI 12 DE HEITOR VILLA-LOBOS

ANALIZA COMPARATĂ A INTERPRETĂRII STUDIILOR DE CONCERT NR. 2 ȘI 12 DE HEITOR VILLA-LOBOS

Author(s): Daniel Dragomirescu / Language(s): Romanian Publication Year: 0

Often, Villa-Lobos' studies contain more than one technical idea or, on the contrary, there are sections within a study that insist on a single problem. However, nothing is lost in the musical quality: the sound is always rich, and the presence of a wide range of colors increases the possibilities of exposing a virtuous interpretation. This "pattern-thinking" as Jukka Savijoki calls it in his book "The Guitar Works of Heitor Villa-Lobos", often provides the solution to correcting some notations of fingerings or sounds, but this this does not happen every time, due to which the interpreter will be late with the learner.

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FUM PENTRU CLARINET SOLO DE DOINA ROTARU - ASPECTE STILISTICE ŞI INTERPRETATIVE

FUM PENTRU CLARINET SOLO DE DOINA ROTARU - ASPECTE STILISTICE ŞI INTERPRETATIVE

Author(s): Daniel Paicu / Language(s): Romanian Publication Year: 0

Written for solo clarinet in 1996, the work of composer Doina Rotaru, the Smoke, proposes the illustration of the symbolic element declared in the title by a particular sonority dependent on a space that implies the presence of another instrument, the piano, borrowing from the vibration of its resonance assimilating and absorbing the harmonics. More evident than the piece architecture is the technical means of sound organization, variation principle prevailing in it and causing a certain formal circumstance by rhythmical entity around which the mechanisms are focused. A permanent oscillation between acute and the grave register, rhythmic oscillation between long and short sounds, the contrast between very small and very strong colors, the game between vibrato and non-vibrato, frullatto and non-frullatto, calmo - nervoso - calmo are elements that predominate the whole work, intensifying the emotional intensity many times as an authentic dirge.

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