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Articolul vizează problema corelaţiei raţionalului şi afectivului în opera de artă plastică, în special, pictură. Autorul face referinţe la creaţiile artei moderne, la fundamentul raţional sau intuitiv al acestora. Se observă o încadrare a creaţiilor date în spaţii ordonate şi dezordonate/accidentale, precum şi o evidentă conlucrare a două contrarii, care sunt în permanentă corelaţie şi corecţie reciprocă.
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The present paper is an ethnological and pedagogical research of the winter ancestral customs and traditions on the Trotus Valley, Bacau Valley, Romania. The practical application of these customs in the educational process is conceived by the author as indispensable condition in the ethnical and artistic culture formation of pupils.
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In the complex process of the listening to the music, the peculiar manner of each subject to enact a reflexive and affective interpretation of a unique cultural experience gets a great significance. A hermeneutic, on the philosophical ground, facilitates the endeavour to think about and to catch in memory part of the essence of music, beyond the emotion during a performance given us. Coming from the hermeneutical phenomenology of Paul Ri¬coeur, we do access a central thesis of the French philosopher, regarding the ,,comprehension and explanation” face to a ‘text’ - a cultural objectifying, a unity of signs carrying significances. We try to highlight the hermeneutic valences in a philosophical horizon of the mentioned dyad, by considering an artistic-musical ‘text’: the mass, using as example „Gloria (carnavalito — yaravi)” - part of Missa Criolla by Ariel Ramirez. We aim to challenge the reader toward an experience of (self-) knowledge and understanding, by activating the status of subject-receiver of music, and finally to revealing in the own potential of a hermeneut with a clear awareness of the human life; by priority, through the communion of human being and the divine.
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Articolul reprezintă un studiu dedicat Rapsodiei-Concert pentru pian şi orchestră semnat în 1984 de Ghenadie Cibanu. Autoarea oferă o analiză detaliată a opusului în cauză; subliniind aspecte ce ţin de dramaturgia muzicală şi de compoziţia acestei creaţii; tratarea mijloacelor de expresivitate muzicală.
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The present paper proposes some methodological guidelines for applying the dramatization techniques during Romanian language and literature lessons in primary classes. The approach has a practical character and illustrates some dramatizing situations, with conventional name applicable during the lessons. It points out that such techniques achieve, on the one hand, the course objectives, and, on the other hand, forms and develops students' theatrical culture.
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The article presents sequences from the life and the theatrical and cinematographic work of the great artist Victor Ciutac, who would have celebrated his 80th anniversary. The librarian dedicated an online exhibition "I would like to have a name, and an address ..." Victor Ciutac - 80 years from birth (12 January 1938 - 18 January 2009).
More...Szilágyi Andor: Tóth Ilonka - Nemzeti Színház
Review of Ilonka Tóth written by Andor Szilágyi, directed by Attila Vidnyánszky, and performed at the National Theatre
More...Mihály Tamás - Horváth Péter - Pintér Tamás: 56 csepp vér - Vörösmarty Színház, Székesfehérvár; Magyar Állami Operaház, Budapest
Review of "56 drops of blood" performed at Vörösmarty Theatre in Székesfehérvár, a piece directed by János Szikora
More...Kocsák Tibor - Miklós Tibor: Lady Budapest - Budapesti Operettszínház
Review of "Lady Budapest" written by Tibor Kocsák and Tibor Miklós, directed by Szilárd Somogyi, and presented at the Operetta House Budapest
More...A Forte Társulat Bartók-estje
The Forte Company lead by Csaba Horváth presented two interpretations of Bartók's 5th String Quartet and Concerto at Várkert Bazár, Budapest, (re)viewed by Lívia Fuchs
More...Bánk bán ősváltozat Szegeden
A review of József Katona and Ferenc Erkel's Bánk bán directed by Judit Galóczy, and presented at the National Theatre of Szeged
More...Zongota - Tamási Áron Színház, Sepsiszentgyörgy
Review of Zongota (based on Áron Tamási's novel "Green branch") directed by Sardar Tagirovsky, and presented at Tamási Áron Hungarian State Theatre from Sfantu Gheorghe
More...Olbrin Joachim csodálatos utazása - Marosvásárhelyi Nemzeti Színház Tompa Miklós Társulat
Review ofTompa Miklós Company's "Olbrin Joachim's wonderful journey" directed by Kinga Mezei, presented atThe National Theatre of Târgu Mureș
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Nie ma prawdopodobnie miasta na północy Europy, w którym splątanie historii i natury byłoby tak uderzające. Podróżny – wjazd do tego miasta od niedawna jest bezproblemowy – przechadzający się bez celu postrzega to w obrazie architektury zachowanej bądź zniszczonej w różnym stopniu.
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Twórczość Romana Jaworskiego doczekała się nielicznych i na ogół zdawkowych opinii, spuścizną po Stanisławie Ignacym Witkiewiczu zajmują się całe rzesze badaczy. Odkryto go, a i po części wykreowano na geniusz nad geniusze, tworząc nawet całą dziedzinę wiedzy, która – jak zwykle, kiedy do nazwiska dodaje się uogólniającą końcówkę – zamienia osobę w abstrakcję.
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Zaledwie przebrzmiały ostatnie akordy wspaniałej pieśni Schuberta, która uświetniła i unieśmiertelniła zarazem świeżo upieczonego noblistę Aleksandra Sołżenicyna, a już w czasopiśmie „Ami”, w tym samym roku (1973), jakby w pośpiechu, pojawiło się dzieło-aluzja, dzieło-symbol dokonujące alkoholowej apologii rozalkoholizowanej Rosji.
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Rozmowa o cenzurze i autocenzurze z Josifem Brodskim, Hansem Christophem Buchem, Hansem Magnusem Enzensbergerem, Susan Sontag i innymi. Rozmowa ta, którą przedrukowujemy w skróconej wersji, odbyła się w początkach lutego 1980 roku w Instytucie Nauk Humanistycznych Uniwersytetu w Nowym Jorku.
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The great conductor and scholar of the works of Bach, Helmuth Rilling, commissioned his colleague composers from different countries to write works on the Passion of Christ inspired by the four Gospels. This project known as Passion 2000 was realized on the 250th anniversary of Bach’s death. As part of this valuable initiative and tribute to the Bach, the Russian composer Sofia Gubaidulina, the German composer Wolfgang Rihm, the Chinese composer Tan Dun, and the Argentinian composer Osvaldo Goliovo created four considerable works that completely differ stylistically and provide new perspectives on Passion settings. This article presents the following two European Passions from a historical perspective: the St. John Passion by Sofia Gubaidulina and the Deus Passus by Wolfgang Rihm. These composers’ perspectives of the Passion genre expand the traditional framework of this genre as they present the events of the Passion within contemporary contexts and combine musical styles from different historical periods.
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When aesthetics is in question, Marx’s actuality is seen primarily in his almost romantic perception of art as a norm and unreachable postulate. This position enabled art of the 20th century to have free flow of aesthetic ideas, and to have distance with real socialist praxis of social and political functionalising of culture. The result of Marx’s empirical analyses of raise of capitalist production might have been even greater than this. Capitalism becomes an arch enemy of art in utterly rationalistic, technological world together with logos holy observation (Weltanschauung). Although Marx was theoretically in a different path form Hegel, he managed to perceive the same tragic destiny of art.
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