Transitions Online_Around the Bloc-LA Museum of Cold War Art to Reopen
Collection’s new home was originally built to withstand Soviet atomic bombs.
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Collection’s new home was originally built to withstand Soviet atomic bombs.
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Kapova cave is located in the Southern Urals, Russia. The cave is a system of halls, galleries and corridors, located at three hypsometric levels, the lower of which is occupied by the river Podzemny Shulgan. The cultural layer has been radiocarbon-dated from 13930±300 (GIN-4853) to 16010±100 (KN-5023). The aim of this paper is to present the results of spectroscopic and uXRF analyses of the paint remains of cherry color, which were found in 2014 by the expedition from Moscow State University between two stones in the Chamber of Chaos. Application of a wide range of microanalytical methods, as well as multispectral and reflection transformation imaging and colour analysis was useful for the determination of the paint recipe. Morphological analysis of the haematite particles using polarized light microscopy helps us find a relationship between paint remains and some paintings in the Chamber of Chaos.
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The article deals with Svetlana Toma’s biography and activity as Moldo-van cinematographic actress. Svetlana Toma was awarded the title of the People's Artist of Moldova. Svetlana Toma is the best Moldovan actress of the XX Century
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Susan Orlean’s The Orchid Thief has raised and defied questions about genre since its appearance in 1998. Though “research” and “facts” are at the foreground of the book, critics have described it by such terms as literary non-fiction, faction, personal journalism, and non-fiction novel because of its strong “literary,” that is narrative, characterological, thematic, and even philosophical, qualities. Struggling to make a faithful adaptation of this “simple” and “beautiful” book “about flowers” for film, Charlie Kaufman, the neurotic and anxious protagonist/screenwriter of Adaptation (2002), a fictionalized avatar of the real-life Charlie Kaufman, works through the wide range of possible generic and narrative adaptive possibilities that the book invites. The series of apparent false starts eventually get resolved, in a desperate attempt at creating closure, by way of the “Hollywood ending” that the screenwriter ostensibly despises and insists he will avoid. This paper engages the complex relationships between these two objects – The Orchid Thief and Adaptation – first, by providing some interpretive analysis of Orlean’s book and its potential adaptive possibilities, and second, by examining what happens to those possibilities in Adaptation. On my argument, the film refracts the book’s concerns into a meditation on the processes of reading, storytelling, and interpretation in the realm of explicit adaptation by way of metafiction, metalepsis, and other techniques associated with experimental narrative.
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Written in 2009, Unterstadt is a modernist novel by Ivana Šojat, an Osijek-based author, prone to writing about topics she discovers in the archives. The novel is a familial saga portraying four main female characters throughout different generations; it is a narrative of dreams, hopes, philosophies, and tragedies related to the lifetime of each respective generation. Likewise, it is a story of faith and free will of the protagonists who have testified to a change in politics on the territory of ex-Yugoslavia, from World War I up to the initial decades of the twenty-first century. Thus, the novel is intertwined with the intermezzi of silence and tales untold because of the fear that affected each generation of the family. Very well-received and acclaimed by the critics and readership alike, Unterstadt was also adapted into a theatrical play, dramatized by Nives Madunić Barišić and Zlatko Sviben, in the production of the Croatian National Theater in Osijek. It premièred on July 29, 2012, the first day of the annual Osijek Summer of Culture manifestation. As the production was extremely demanding, the paper will examine the novel’s adaptation into an awarded masterpiece of the Croatian theater in view of the contemporary theory and practice of dramatization and theatrical adaptation, complemented by the elements of New Historicism, fragments of Miroslav Krleža’s play In the Camp (U logoru), and authentic historical documents dating from World War I up to the present day.
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Review of: Dennis CUTCHINS, Laurence RAW, and James M. WELSH, editors. The Pedagogy of Adaptation. Scarecrow, 2010., 183 pp.
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Review of: Thomas LEITCH, editor. The Oxford Handbook of Adaptation Studies. Oxford UP, 2017., 762 pp.
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Review of: Douglas BRODE, Shea T. BRODE i Cynthia J. MILLER, ur., The American Civil War on Film and TV: Blue and Gray in Black and White and Color, Lexington Books, Lanham, Boulder, New York, London, 2017., ISBN13: 978-1498566889, ISBN-10: 149856688X, 271 str.
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Eksperienca e hershme e artit duhet të ketë qenë yshtëse, magjike; arti ishte instrument i ritualit (khs.: vizatimet në shpellat në Lascaux, Altamira, Niaux, La Pasiega etj.) Teoria e hershme e artit, ajo e filozofisë greke, propozon që arti ishte mimesis, imitim i realitetit. Në këtë pikë, u ngrit çështja e veçantë e vlerës së artit. Teoria mimetike, nga kushtet e saj, e sfidon artin që ta justifikojë veten.
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Janë dy muzika (të paktën kështu kam menduar gjithmonë): muzika që dikush e dëgjon, muzika që dikush e luan. Këto dy muzika janë arte plotësisht të ndryshme, secila ka historinë e vet, sociologjinë e vet, estetikën e vet, erotikën e vet; i njëti kompozitor mund të jetë minor kur e dëgjon atë, i llahtarshëm kur e luan atë (madje edhe keq) – i tillë është Schumanni.
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Omer Kaleshi paintings are painted in a different style, as Omer Kaleshi is a different painter. The aesthetic experience that his painting brings, more than in his extraordinary skills, is in the secrecy of the meaning, in their significant mystery. Otherwise the paintings that we are used to read at the first view, the paintings, or in reality the heads that Omer Kaleshi creates, invite us to a continuous dismounting: for the dismounting of their obscurity, of their metaphysics.
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Një trashëgimi e pasur kombëtare që ka bërë historinë e kinemasë europiane dhe botërore, dhe një shirit i grisur 35 milimetërsh që rrëshqet nën mëngë, ky është identiteti kinematografik i regjisorit italian, Paolo Sorrentino
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“Duke u përpjekur të arrish diçka që duhet ta ndjesh/ ndërkohë që shtrëngohesh në atë që e mendoje të vërtetë.” Kështu fillon kënga “The Struggle Within” (“Lufta e brendshme”) nga Metallica, e cila potencialisht shpreh ndjekjen e vërtetësisë të përshkruar nga mendimtari danez Søren Kierkegaard (1813–1855).
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Dëgjimi i muzikës është dëgjimi i gjithë zhurmës, duke kuptuar që përvetësimi dhe kontrolli është reflektim i pushtetit, e që esencialisht janë politike. Më shumë se ngjyrat dhe format, është tingulli dhe aranzhmanet e tij që e bëjnë shoqërinë pjesë të modës. Me zhurmën ka lindur çrregullimi dhe e kundërta e tij: bota.
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Ju besoj shumë atyre që e përshkruajnë ndryshe nga ç’e kam njohur unë. Dhe ja se pse. Në radhë të parë, kam mundur të njoh vetëm një pjesë të vogël nga jeta (e mrekullueshme) e tij: sepse, isha thjesht një e huaj; isha, në kohën time, një 20-vjeçare që nuk kuptonte shumë, një e huaj.
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The purpose of the article is to highlight the state of scientific development of regions in the works of modern art. Methodology. The research methodology includes systematic, historical and logical methods. The above methodological approach allows us to uncover areas of regional studies of Ukraine; the degree of scrutiny gives an opportunity to trace the cultural and artistic life of its individual regions. Scientific novelty. Scientific novelty consists in expanding notions of place and role of regionalism in the modern Ukrainian Art studies. Conclusions. The current stage of development of Ukrainian art studies has intensified interest in studying the culture of different regions, as components of the Ukrainian culture. The topic of the researches covers the kinds of art, and especially the cultural and spiritual life of the region.
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The work deals with features of the place and role of sense as an example of the phenomenon of death in the context of cultural studies, in particular the analysis of the specifics of the functioning of the latter on the background outlined phenomenon as part of his existence in the culture. Methodology. The research methodology consists in applying the method of historical and logical and socio-philosophical analysis of the problem. Scientific novelty. The scientific novelty of this work is to study the phenomenon of the body (corporeal), as the subject of the action in terms of the whole ontological and cultural science – in particular. On the one hand it is an object of potential slave, that is productively assimilated in the future. (We are talking about the body as a component of cultural heritage: the implicit / explicit element of painting, architecture, dance and other things, that is, the physical determinant is converted into an element that bears the character of an ideal.) Conclusions. The body (corporeality) serves the primary form for sense, abiding in the subject-object relationship with reality: the object is represented in the culture string of secondary artefacts, being isolated from it as a derivative of its material representations of the physical world (body shape, silhouette, dance and pictorial motifs and so on); subject – as a source of creation of sense, the functioning of which leads to the cultural correlations, interference, and other fractal sense. At the same time the body as a physical object has certain characteristics of its functioning, the main of which is the phenomenon of finiteness of its material representations in ontological reality – death. The latter is not only biological, but also cultural and philosophical phenomenon, carrying out a large-scale impact on the culturological paradigm sense: primary (initial) understanding of acting in relation to the hermeneutic as «pre-understanding», – is the ratio of human consciousness unfolding in front of her around the world, and human body which stays in it prematurely.
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The Research is related to determination of criteria and principles of forming of actual project images of 1970th and their influence on development of modern fashion industry. Methodology. The complex system approach of the study of basic criteria of fashion images forming in fashion industry is based on application of comparative, analytical and historical logical methods. The methods of supervision and generalization are used for formulation of basic principles of fashion trends forming in the researched period. Scientific novelty. The article describes the fact that the 1970s became a period when the fashion industry did a new jerk in the development. It is certain that the new tendencies of social life and in-public consciousness induced to the origin and active development of new actual appearance of personality. It is reviewed that intellectuality and individuality, refinement and comprehension of cultural property and spiritual values became the basic vivid lines of aesthetically beautiful ideal of that time. Exactly, these vivid properties were aesthetically beautiful ideals of that period. Conclusions. As a result of the research we can conclude that the fashion industry was actively searching of new imaginative ideas and project forms during the 1970s. All in all, the attitude to clothes and appearance has changed in the consumer society – the design and style are claimed to be a slogan of the era, though the difference between «haute couture» and clothes of mass-market, remained to be significant. All manifestations of youth movements, subcultures and anti-fashion tendencies gave an impulse for the designers to use the created images or its separate features in the process of development of the fashion lines for the general public. Thus, the symbiosis of the «traditional» and «alternative» fashion was the basis for the formation of the mass-market consumer’s choice, and the collections developed and manufactured on a commercial scale obtained the status «mainstream».
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