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Polish Marian devotion has got a long and plentiful tradition, witnessed by numerous works of art dedicated to Mary, Mother of God. Many contemporary Polish composers are willingly reaching for Marian theme, among whom figure of Andrzej Nikodemowicz excels. In his works pieces devoted to Mary form a significant contribution, being nearly half of his religious works. As well as his whole oeuvre, his Marian works are diversified in terms of style and structure. However, they invariably represent a testimony of both profound faith (which has survived political persecutions) and close relation between A. Nikodemowicz and Mary the Mother.The following article includes general characteristic of the Marian works of Andrzej Nikodemowicz, taking cognisance of the background of the work as well as the sources of his inspiration. In order to show exemplary solutions applied by the composer, the author included a short but detailed analysis of three selected pieces from different periods of his work.
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The author explores the concept of symbol and symbolism in the context of fine art through the concept of G.-W.-F. Hegel, who identified three historical forms of life art: the symbolic, classical and romantic. Attempting to critically rethink the existing scheme and offer their vision of the phenomenon of symbolism in the bosom of European fine art. The timeliness of the investigation is a clarification of key peculiarities of historical forms of art’s existence, which were proposed by Hegel, in the context of widening them and by rethinking from the modern studies perspective that are focused on the interpretation of symbolism and symbol. The scientific development level of the problem: S. S. Аverintsev, V. V. Bychkov, М. А. Lifshitz, А. F. Losev, and others developed and analyzed the historical forms of art’s existence, including the symbolic one, in the context of the Hegel’s concept. The object of the article is to study the essential Hegel’s ideas concerning the interpretation of symbol and symbolism that were set out in his work "Lectures on Esthetics" in the light of critical analysis. In his grading of the main stages of the self-opening of absolute spirit G. W. F. Hegel determines the art as the first and the most imperfect form hierarchically followed by religion and philosophy. The philosopher’s work "Esthetics" proposes to consider the art development in the light of three main forms – symbolic, classical and romantic ones. Hegel considers the change of the historical forms of art’s existence in the light of historical dynamics because the movement from one art form to another is determined by the change of cultural priorities, or in general by the alterity of West and East forms. As Hegel notes, at the first symbolic stage the content cannot find the appropriate form of expression and that is why the discrepancy appears between them. "The idea is still searching its real art expression" [3, 9], but, as the philosopher notes, the search is not finishing in an appropriate way, leading to the fact that "it distorts and deforms the discovered images" [3, 9]. In the context of our investigation the analysis of the Hegel’s interpretation of symbol that he applies either in the consideration of the symbolic form of art or out of its bounds, describing the difference of these meanings, is an important thing. According to Hegel the East symbolism is not the art for a real understanding of it (as in classical form). East symbolism acts only as preparatory phase in the further development and improvement of art form. It is difficult to admit because of impossible absolutization of the West-European criteria for the assessment of the art in relation to other cultures with their originality and in imitable artistic expression. In addition, Hegel justly remarks that the decoding of symbol can be possible only when the person, who perceives it, is there in an appropriate coordinate system, including the cultural ones, allowing for adequately understanding the inner component of symbol, which is concealed from the representatives of other cultural spaces, or those, who have no relevance to the contents represented by this symbol. Such kind of understanding the symbolic according to Hegel does not fully provide the involvement of so-called "free individuality" [3, 23], if it is there in the content and form, on the philosopher’s opinion, the symbolic immediately stops existing. In other words, any art freedom makes the Hegel’s symbolic form of art impossible for existence, because according to his opinion, in the individualistic piece of art the symbolic components can be used only as secondary details and come down to the level of simple signs, for example, in distinction from Egyptian images, referring to which Egyptians "believed that they could see the God in Apis" [3, 24]. In addition, Hegel underlines several development stages of the symbolic: from the unconscious symbolics to the sublime symbolics and conscious symbolics of relative form of art. However, in the Hegel’s interpretation the description of the symbolic form of art concerning the pictorial art does not go outside the bounds of the unconscious symbolics because the following stages directly concern literary activity. Finishing the analysis of symbolic form of art the philosopher comes to the dialectical necessity of the replacement of one form of art by another one. It is explained by the exhaustion of previous one. Therefore, the disappearance of symbolic form of art and the creation of classical one become the next necessary stage. Overcoming the discrepancy and achieving the relevant ratio between the form and content are maximum achievable in the classical form of art, which according to the opinion of Hegel is the top of human art achievements, and the destruction of which happens in the next romantic form.
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The premiere of Sen [“A Dream”] by Felicja Kruszewska put on by the Reduta took place on 27 March 1927 in the Na Pohulance Theatre with stage setting designed by Iwo Gall and music composed by Edward Dziewulski. It was Edmund Wierciński’s directorial debut. The artist had been a member of the Reduta company, ran by Osterwa and Limanowski, since 1921. It was where he studied acting and directing. He gained some valuable experience in directing and staging when the Reduta toured the Eastern Borderlands in 1924. The company performed in halls unfit for the purpose and showed Schiller’s Wielkanoc [“The Easter”] outdoor more than a dozen times, which required numerous staging alterations. Wierciński was the one to make them, since he was the artistic director of the whole enterprise. In 1925 the Reduta moved to Vilnius. The company ceased to be a laboratory theatre it had been; as the only theatre in town it had to attract audiences; the methods of work changed, the number of premiere shows increased while the number of rehearsals and the amounts of time spent on thorough analysis of the dramas decreased; and the repertory now included best selling shows. The level of artistic quality lowered; and the search for novel means of artistic expression was replaced with naturalism. Wierciński would not accept it. His production of Sen was, as he put it, “a tempestuous and radical protest against the naturalism of the Reduta.”Girl, the protagonist of the play, has a dream that she has been entrusted with a mission to rescue her town from the Black Army. No one except for her sees the danger; no one understands her, and everybody is trying to set her back. The drama can be interpreted in various ways. In reference to the interwar period, the most viable reading is that it portrays Poland that has regained independence but is not able to really put it to her advantage, accepting the societal mediocrity and low morality.Wierciński wrung out the whole emotionally charged meaning of the text, thus putting on an expressionist show that relied heavily on deformation, caricature, mechanic movements, and repetitive gestures and sounds. Nothing looked onstage as it did in reality. Wierciński himself took on the part of Green Clown [Zielony Pajac], the most grotesque character of all.Most of the theatre reviewers criticised the drama, but they all agreed in their high appraisal of the theatrical production. Osterwa, however, deemed the show to be contrary to the Reduta values, which led to a split within the company. Wierciński with a group of other artists left the Reduta. The secessionists were then hired for a short period of time by the Nowy Theatre in Poznań, where Wierciński put on Sen again in September 1927. For the third time, he directed the play by Kruszewska at the Miejskie Theatres in Łódź in 1929. Wierciński was known to analyse his works thoroughly and eagerly. He considered Sen to be a necessary step for the development of theatre, yet he saw the pitfalls of venturing further in this direction, which might lead to the primacy of director and form over the creative potential of actors that would then be lost and unappreciated. All in all, Wierciński believed that the theatre should give precedence to the drama and playwright in determining the form of the play and that actors ought to be fully appreciated for their participation and involvement in the creative process. He followed these principles in his theatrical work more and more noticeably. His directorial debut was a spectacular protest that marked the beginning of an artistic journey from expressionism and dominance of form, through naturalism and socially engaged theatre, to the great poetic drama, from the primacy of form to a synthesis.
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Based on results of sociologic polling of civil servants, managers and specialists of government, regional administrations, institutions and organizations in culture extracurricular educational institutions, members of creative unions of Ukraine, managers and academics Culture and Art (experts), the author of the article was made cultural analysis and interaction of possibilities gifted person with the artistic culture in the past, present and future. As the basic approach to the study of the role and place of culture in the lives of gifted person was selected objective-acseologocal (value). Thus research attention has focused on outputs, results artistic activities that embodied in the achievements of culture and their possible internalization. 2100 interviewed experts identified the extent or another function of art is realized in artistic and creative activities in different regions of Ukraine (the highest, average and minimum). They also pointed out that the sphere of culture and related industries differ most acute problems requiring priority attention and specialized approach to the development of abilities and skills of gifted individuals. Attention of experts focused on identifying existing problems in the arts: in the past (20 years ago), present and future (20 years). According to experts, cognitive and developing function of art 20 years ago in Ukraine implemented at sufficiently high level to the maximum (57,2 %) and average (17,09 %). However, respondents indicate that while the artists were quite difficult to obtain an objective assessment of the results of their own work, due to the secondary and the lack of independence of contemporary criticism. With development of democracy in Ukraine, significantly increased ideological orientations personality, formed a critical artistic thought. However, the results of interviews with experts suggest that cognitive and developmental function of art today are implemented mainly at middle level, indicated that 72,85 %. Only 26,2 % of respondents indicated that these functions are possible. 60 % of the experts expressed the hope that in the future (20 years) is the function of art as knowledge of surrounding reality and himself, the expansion of human vision will be realized at the maximum level. According to 76,19 % of the respondents who have personal experience of artistic and creative and management activities in the field of art and culture, the moral function of art 20 years ago in Ukraine was implemented at the highest level. In their view, the art of this period remained very ideologized. Criteria morality often revealed from the standpoint of Marxist-Leninist philosophy. Despite the fact that in contemporary society, considerable attention was paid to the overall development and education of the individual, there was a need to combine formal ethics with real human morality. Today, as the 74,29 % of the respondents, the moral function of art is realized average. 22,85 % of the experts pointed to the special urgency of the problem, which is associated with a fall in the general level of morality Ukrainian society, which, unfortunately, has not yet created the necessary mechanisms for conflict of globalization. Modern art filled with low-grade samples of artistic production that can meet only tastes undemanding "mass" audience. 40,14 % of the experts hoped that in the future Ukrainian (20 years later) will provide morality of contemporary art at the secondary level. 22,9 % – believe that future artists will overcome most of the existing problems in this area, and achieve the highest level of performance of this function. Other experts, representing 36,95 % of the respondents provide further exacerbation of existing problems and the sharp decline in morality art of the future. Based on the results of the study it can be concluded about the need for more effective cultural policy in Ukraine, aimed at intellectualization process of internalization of cultural values and enrichment of moral and spiritual potential of gifted person in the process of artistic and creative development.
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This article deals with analysis of original aspects of bandura art research of Ukraine and Ukrainian diaspora. Bandura art is being considered in the context of problem of national cultural heritage preservation. The components of spiritual and material culture in bandura art are being defined. Major source groups in bandura art research of Ukraine and Ukrainian diaspora are being characterized. Priorities of modern bandura art studies are being defined.
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Panna Adorjáni presents an e-journal which appears twice a year and its themes are organised around gender issues. The TNTeF (Társadalmi Nemek Tudománya Interdiszciplináris eFolyóirat or Interdisciplinary e-Journal of Gender Studies) can be accessed at www.tntefjournal.hu and is edited at Szeged. The journal is not closely linked to the theatre, but it contains articles on theatrical themes as well.
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The 1999 article written by Lesley Ferris studies the theatrical representation of violence on women's bodies. In the essay entitled Staging Violence Against Women. A Long Series of Replays the author argues that one of the reasons behind the prevalent theatrical occurrence of violence against women lies in the repetition of violent stories of women in the history of drama, which interprets women either as victims of violence or as strong-willed and stubborn. Along a research in drama and theatre history, Ferris shows the mechanisms that have enabled the theatrical representations of violence against women to become permanent and asks what is needed for us to get rid of the repetitions of these same forms of aggression.
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In the essay Reversing the gaze: They are looking at you, patriarchy!, the author, Adele Dittrich Frydetzki presents the possibilities of German feminist theatre through two important creative communities. The author begins with a short theoretical and historical survey, in which she sketches the current state of contemporary German theatre and the status of women in it. In the analysis of performances of She She Pop and Christians//Schwenk, she demonstrates the theatrical tools and aesthetics that the above-mentioned creators apply.
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Rita Sebestyén discusses with theatre critic Deepa Punjani, a member of the Executive Committee of the International Association of Theatre Critics, what it means to be a theatre critic in India today, which are the forums of Indian theatre criticism and how do they function, as well as which are the challenges that a professional woman in a leading position has to face.
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A found photo about actress Kinga Illyés and a fragment of her letter written to poet Domokos Szilágyi.
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The she-wolf with the twins, Romulus and Remus, was identified as a symbol of Rome by both the Romans themselves and nations under the Roman rule. In this essay I will discuss the Lupa Romana in Roman provincial art. I will present various visual representations of the she-wolf both in the public use and in objects related to private life, and analyze the she-wolf’s symbolic meaning.The Lupa Romana was an iconic scene that was not used randomly in provincial art. It represented in the first place the idea of romanitas, being Roman. In some cases the use of the symbol could have been in consequence of instructions from Rome itself or from provincial authorities that depended on Rome, but in most cases the motif was used by the inhabitants of the provinces themselves. It can be seen as an expression of loyalty to Rome and the emperor, but at the same time the message could have been directed to other members of the community, too. As romanitas was associated with higher social status, the she-wolf motif in the decoration of one’s house or gravestone could be seen as self-aggrandizement.
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Workshops of sarcophagi in Aquincum and Brigetio. This contribution deals with problems of chronology, iconography and decoration of the sarcophagi of Aquincum and Brigetio. For the chronology the inscriptions, which name the cities as municipium or colonia are more helpful than the dates of the stationing of the legio I adiutrix and the legio II adiutrix respectively. Regarding the iconography of the many sarcophagi with erotes in the fields on both sides of the inscription the type of this representations is decisive.
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Béla Balázs, the librettist of Béla Bartók’s Bluebeard’s Castle and Wooden Prince, wrote many remarks about Bartók in his recollections throughout his life, and their manuscripts are preserved in Budapest, in the Library of the Hungarian Academy of Sciences and National Széchényi Library. Some parts of these texts, however, still remain unpublished. Even though his reminiscence tends to exaggerate their friendship, which in fact ended in their earliest period in Budapest, examination of the sources provides us with a new understanding of the relationship between the librettist and the composer. Therefore, this paper introduces the documents written by Balázs, gives a selective overview of their friendship, and examines how the image of Bartók changed in Balázs’s mind over time.
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While concentrating on two cases: Ribioa/Ribice and Malancrav/Almakerék, Sorin Dumitrescu (himself a painter) offers an overview of Hungarian–Romanian relations, not only from the artistic point of view, but also in the broader cultural and even political sense – a study on the conditions of vassality, so to say. He suggests that the mixture of genres runs the risk of making art intolerably tasteless.
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After briefly summarizing the historical circumstances of its construction, Szilveszter Terdik compiles a kind of inventory of the religious decoration of the cathedral. He demonstrates the effort to maintain loyalty to the main principal of the byzantine art, while describing certain inflexions that show the intention to get closer to Rome. Moreover, these two tendencies were sustained by two different artists.
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The tradition of European “classical music” has long evoked the exotic, and two of the most prominent exotic referents in that tradition are the Middle East, first and foremost the Turk, and the Hungarian Gypsy, raising the questions of how these “exotic” traditions are related, and what their comparison might tell us about the idea of musical exoticism more broadly. In this essay, I briefly survey the “Turkish style” and its use in Classical-period opera; discuss its replacement by Hungarian-Gypsy style in the nineteenth century; and finally examine the interesting juxtaposition of Turkish and Hungarian-Gypsy topics in two fin-de-siècle Central European operettas, Der Zigeunerbaron by the Austrian Johann Strauss Jr. and Gül baba by the Hungarian Jenõ Huszka. An examination of these works and their reception reveals fissures between the Viennese and Budapest versions of operettas featuring “exotic” topics and characters, and between the operetta industries in the two cities. These details offer a fascinating look at the dividing line between exoticism and auto-exoticism and at the significance of references to Turkish and Hungarian-Gypsy topics in the Central European cultural climate of this period – in short, a reconsideration of what it means to be Hungarian, and for whom.
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