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Giovanni Testori’s dramatic texts represent a new attempt in the Italian theatre that is placed within the framework of the area of the pirandelliene themes, but at the same time it is an Endeavour to get out of it. They have an environment and popular characters in which prefigures the scenic space as a possible meeting place of the ideological schemes, subjects and themes with psychological and religious research presented in a mysterious and timeless dimension. Characters’ passion and tragic vitality represent author's anxiety. The tragedies “L ’Ambleto", “Macbetto” and “Edipus” reveal, explicitly, a scandalous dimension, that is out of time, resorting to a magmatic, multidialectal language, which is very expressive, but goes as far as blasphemy. On the other hand, Giuseppe Patroni Griffi finds his subjects in the chronicle, transforming them into explosive parables. The author-director, born in Naples, emphasizes the psychological aspects using a brutal, anti-literary language that is often rich in violent and vulgar words. All his "unhappy ” dramas comprise numberless allusions in which one can recognize suggestions from Eduardo de Filippo’s theatre, ideas that highlight a contradictory feeling - love and hate. The stories presented by Patroni Griffi have always been annotation stories, fixed on characters that have in common a characteristic of sudden marginalization, of accepted life that is sometimes rejected.
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Semnificaţia, fiind o noţiune larg răspândită, cu o circulaţie specială în structuralism, a fost fundamentată la sfârşitul secolului al XlX-lea şi în prima jumătate a secolului XX în teoria artei şi se referea în general la conţinut sau mesaj, la conţinutul operei de artă şi nu la forma ei. In designul interior semnificaţiile se nasc în procesul creaţiei şi receptării spaţiului interior, în procesul comunicaţional. Există semnificaţii cognitive şi afective. Sem¬nificaţia porneşte de la un număr limitat de forme simple arhetipale, considerate cele mai simple, din combinaţia cărora se poate genera orice altă formă. Deşi semnificaţia reprezin¬tă principiile de coeziune ale sistemului compoziţional, ea ţine de problematica imaginaru¬lui, designerul va da semnificaţie operei sale ţinând cont şi de doleanţele beneficiarului.
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The article discusses the value and the creative aspect in musician’s individual performing style formation. In connection with the need to develop a purposeful, self¬comprehension work of the musician-artist, you need to differentiate his personal qualities as a subject of the performing culture and in this connection to define the perspective-value directions of his professional development. The unit of measurement of the performing personality is based on its dynamic personal dispositions. There are the personality contents which includes the subject’s identification and the evaluation of the object of the educational process - the interpretation of a musical work, mastering the tools of artistic and technical expression of the musician, that constitute the basis for the musician’s individual performing style formation. Thus, an individual performing style is defined as a personal- value category, because its structure combines the artistic and the individual values.
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În acest articol autorul încearcă să găsească răspuns la întrebările: Ce se înţelege prin interpretare emoţională? Ce se înţelege prin stabilirea relaţiei emoţionale dintre interpret şi ascultător? Pentru a oferi un răspuns trebuie de luat în vedere nu numai legităţile/problemele/specifice ale interpretării, dar şi aspectul receptării muzicii in¬terpretate de către ascultător, captarea atenţiei lui. Interpretul are nevoie de feed-back-ul emoţional al ascultătorului.
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For the first time the history of creation and development of Beltsky Russian Theatre is touched upon in this article. An analysis of the repertoire formation, the creative activity of some directors and actors allows distinguishing some peculiarities of interesting, intense, complex and inconsistent theatrical life in the city for the early post war years
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Gheorghe Neaga is a remarkable Moldovan composer of the second half of the 20th century. His creation is marked by a free use of musical language, various composi-tional techniques used not as an end in itself, but as one of essential terms for creation of original artistic concepts. „Bach for all times” is one of his composition for two pianos written in 2003 during the last years of his life that he lived in America. This creation has never been elucidated in any musicological study, so we are the first who tried to analyze it. In a previous article, we have already elucidated the neoclassical and polystylistical trends that we find in this creation, and in the article below we report what are the composition and genre peculiarities of this musical work
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This article studies the musical forms (auditory, visual, motoric and tactile ones) and their role in the formation of the pianist. There were analyzed the methods that contribute effectively to the development of internal musical hearing, to the increase of locomotor apparatus’ skills and to the quality of sound. It also mentions how to overcome pupil’s locomotor apparatus difficulties
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This paper focuses on the study of the preparation for evolving on the stage. It analyzes and outlines the methods and the tools that enhance learning of musical composition by heart, used so often in teaching practice in order to diminish the psychological traumas and to reduce their influence on the pianist’s professionalism. The author highlights the individual approach and the work on the artistic image with each pupil that determines and cultivates a constant and indubitable evolving on the stage
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Many anthropologists of the image accentuate that visual images are treated as if they were subjects brought to life. By introducing in What Do Pictures Want? The Lives and Loves of Images the category of “wanting” W. J. T. Mitchell turns the “life“ of the image into a problem and indicates its, i.a. “ghostly” character. In the opinion of the author of this article Mitchell paid insufficient attention to the possibility of images wishing to deceive their recipients, towards whom they turn. By referring to the views of, i.a. J. Hillis Miller, Nicolas Abraham, Jacques Lacan, and Paul de Man Michera demonstrated that the interpretational “story” provoked by images is “apotropaic”, i.e. it comprises a “safe” solution, which, at the same time, conceals that, which would breach the subjective status of the recipient.The second part of the article is an analysis of two exemplary “metapictures”, which can be treated as an attempt at problematizing this problem: Albrecht Dürer’s drawing “Angels’ Mass” and Robert Walser’s “Micrograms”.
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In his capacity as a “philosopher of poetry” Bachelard rehabilitated imagination and its images while intending to demonstrate the positive value of imagery in the poeticoneiric domain. He presented an original conception of literary creativity as a creative revival of the constant archetype/creative variation on the theme of the unchanging matrix for images. By making original use of the discoveries of psychoanalysis and phenomenology he proposed the conception of “archetypical images” and the “ontology of the imaginary”. More, thanks to the application of those methods he discovered the natural and dynamic contents of the image. As a result of those analyses it is possible to discover in Bachelardisme a definition of an image as a combination of the archetypical forms of the unconscious, which belong to the subject together with an already independent material substantiality of the perceived outer world (the symbolic of the four elements of Nature: fire, water, air, and earth). One should, however, not forget the subject – the “dreamer of words” (rêveur de mots) – who finalises the verbal-iconic process. His “novelty” (nouveauté) is of enormous significance as the one that synthesises the function of creative imagination.
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The author of this essay proposed to decipher Miłosz’s prewar poetry from the viewpoint of the motifs of the petrification of the world as well as the passage of time and death. In doing so he described this current in Miłosz’s poetry as thanatic, indicating that it reveals concealed kinship with the late Freudian theory of drives, based on the opposition between Eros and Thanatos. This pessimistic tenor in Miłosz’s pre-war poetry is associated with emphasis on the finite dimension of human existence. Consequently, it was to be connected with recurring catastrophic motifs merged with pity for the world in the shape in which it is given to man. This is the reason why Miłosz’s poetry can be described as elegiac, mourning the inevitable departure of everything into death and nothingness.
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Last Year in Marienbad appeared in 1961 almost simultaneously in two different forms – the film by Alain Resnais and the ciné-roman by Alain Robbe-Grillet issued by Les Éditions de Minuit. This article endeavours to bring the reader closer to the phenomenon of the ciné-roman as an obscure textual-visual form that enters into convoluted relations with assorted literary genres, on the one hand, and with ways of narrating and presentation characteristic for the cinema, on the other hand. The author is interested in the sources of the ciné-roman, which she perceives both in selected phenomena of inter-war mass-scale culture and in the theoretical and practical quests of the avant-garde. Another objective is an analysis of the text by Robbe-Grillet from the vantage point of the narrative strategies applied by him in the light of reflections concerning the nouveau roman and the theories of the cinematic and literary image.
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This text is dedicated to a type of film subjectivisation, which the author described as mediated. In doing so he proposed the thesis that there exists a trans-media figure of depicting the experiences of the protagonists, which in literature is realised in the form of free indirect speech, and in the film – of mediated subjectivisation. The determinants of this figure are the subjectivisation of the message upon a stylistic level and overlapping perspectives (focalisation).In order to distinguish this narration from other ways of bringing closer the perspective of the protagonist the author distinguished three types of internal focalisation in the film – narrativization, personalisation, and subjectiviation. The characteristic feature of mediated subjectivisation is the fact that the manner in which the protagonist perceives reality is “marked” by such stylistic means as the non-standard points of view of the camera, lighting, staging, colours, montage or sound. The term: “mediated”, on the other hand, indicates that narration of this sort does not create the illusion of indirect access to the internal world of the protagonists but accentuates the mediation of a certain “higher” narration level in transmitting the internal states of the protagonists. The author characterised the functions of mediated subjectivisation and indicated the manner in which it serves the process of bringing out the experiences of the protagonist.
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Attempts at making inventories of, and documenting National Memory Sites, so characteristic for the iconosphere of Warsaw, have been undertaken upon numerous occasions. The outcome of those endeavours in correlation to the examined material in archival collections distinctly indicates gaps, errors, or restrictions of the range to photographic inventories or limiting the list to a concrete period (e.g. the Warsaw Uprising). The project presented by the author of this article produced a complete record and registration of plaques and monoliths designed by the sculptor Karol Tchorek and commemorating the history of the town during the tragic events of the last war. The accumulated material basis: photographic documentation, assessment of the technical state, and an orderly arrangement of data upon the basis of archival documents will, hopefully, enable a graphic study and the issuing of a publication – a map of Warsaw showing the background of events in the form of a guidebook to Memory Sites. The documentation and outcome of the project were entrusted to the Tchorek-Bentall Foundation, which, in accordance with its Statute, is the guardian of the artistic bequest of Karol Tchorek.
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This text about the historical Karol Tchorek Studio in 36 Smolna Street in Warsaw is an attempt at gathering fundamental information from the viewpoint of the Studio’s unclear ontological status, historical character, and uncertain future. The first aspect is associated with its origin, multi-motif nature, and history, which the author has been tackling for years as caretaker, cleaning lady, archivist, and friend of the family. The text thus divides its attention between history, culture, architecture, and management. In order to outline the context it broadens the perspective by including the area directly adjoining the Studio. It also contains quotations from the famous Wprowadzenie do ogólnej Teorii Miejsca and indicates connections between Mariusz Tchorek’s Theory of the Place and the special nature of the discussed place.
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Karol Tchorek died in 1985. His son, Mariusz, acclaimed art critic and co-founder of the Foksal Gallery passed away 19 years later. In 36 Smolna Street they left behind a study brimming with artworks. Today, it remains under the care of Katy Bentall, born in London, the daughter-in-law of Karol Tchorek, who actually never got to know him. After the death of her husband in 2004 she did not return to the United Kingdom, changed all life plans, and decided to remain in Warsaw on a permanent basis - far from her family, with two small children, and without speaking Polish. She was not intimidated by the ruined ground-floor studio, unsettled ownership issues, and a neighbourhood of ill repute.
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A reflection on the phenomenon of the archive, and in particular the archive of Mariusz Tchorek, as well as a report on the selection of visual material for “Konteksty”. From the very onset of work on the issue it was obvious that visual material should originate from the archive in Smolna Street in Warsaw. The place of the archive amongst other material was just as apparent as was the manner of arranging the objects so as to preserve both their visual aspect and textual stratum. Reflection binds musings on the archive and the diaries. In both cases editing work and reprints could result in losing the visual stratum of the original and accentuate the textual quality. Another aspect of the conducted reflections is the structure of the archive’s presentation. With the parallel between the archive and a diary or a journal as the point of departure archival material is to be reprinted in accordance with the arrangement of the archive boxes – counterparts of folios or the chapters of diaries or novels.
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