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The article seeks to address the description and analysis of a complexly constructed object such as an art installation. Different types of installations are explored, as they are becoming more and more popular in contemporary art. The methods used were chosen so that to be adequate to the objects under consideration. Art installations being complex works, the methods of classical art studies faced certain difficulties in their description and analysis, and mainly in revealing and explaining the mechanisms behind the functioning of different installations. Drawing lessons from those analyses, contemporary art studies had to expand and summarise their categories and concepts so that to be able to go from a descriptive and explanatory model to a prognostic one in the analysis of the contemporary “hybrid fruits” of the art of imagery.
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The article brings together all known for the time being works by the Athonite icon-painter Nicephorus from Karpenissi, made in the Bulgarian lands. It is argued that his icons spread across this country through the agency of the monasteries of Zographou and Chilandari on Mt Athos rather than being commissioned to him. In this sense, the role is underscored not only of the institution of taxidiotes, but also of the monasteries as such for Bulgarian places that needed Athonite icons at the turn of the nineteenth century commissioned those directly to the monasteries rather than contacting the Athonite painters. The choice of a particular painter in each case was left to the discretion of the two monasteries, which acted as the gobetween in the negotiations between the church donors and the iconpainters. Several examples are given of incorrect attributions of works made by Nicephorus, which were until now ascribed to the Samokovian painter Hristo Dimitrov. These are the icons at the Metropolitan Church, Samokov (1793); the Church of the Holy Trinity, Ruse (1807–1808) and some of those at the Church of the Assumption in Pazardjik (1815). Along with the new attributions, a critical evaluation is made of the information about Hristo Dimitrov’s training on Mt Athos and some information about the painters of the School of Samokov, based rather on legends, though accepted as science facts in Bulgarian literature.
More...A tékozló fiú hazatérése Rembrandt van Rijn ábrázolásában és Henri J. M. Nouwen értelmezésében
The “Rembrandt Code” is mainly based on the crucial writing of Henri Nouwen: The Return of the Prodigal Son, a book unfortunately unknown for the East-European readers. The author of this presentation several times tried to popularize the books of Father Henri, giving lectures as often he could. The echoes of these lectures were very positive, so he summarized his conclusions in this essay lectured in front of a youth auditorium in Nagyvárad. The “Code”is very simple as all the teachings of Henri, the Beloved One: God is receiving and embracing us with His Fatherly and Motherly embracement, welcoming us in His house where all of us is belonging and where is enough place to dwell.
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The reformed church was connected to the Renaissance in Hungary. The liturgical objects usually did not differ from the objects that were used on a daily basis.The explanation of this is that the form and the substance of the ceremonial objects were not prescribed. Besides the 16–17th century’s goldsmiths, tin and ceramics pots, folk potter products, embroideries and folk textiles and joineries, in a considerable amount remained the 18–19th century’s silks manufacturing industry products, so in the applied art and folk art researches occupies an outstanding place the yet highly unknown church objects.
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Nesrećni dijalozi domaće kinematografije s literaturom - snimanje prema adaptiranim, dramtizovanim, redukovanim i kastriranim književnim predlošcima - nikako ne jenjavaju, demonstrirajući beskonačnu maštovitost u proizvođenju fllmsko-literarne mucavosti, apsurda i idiotizma.
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Podvucimo, najpre, da po Bašlarovom (Bachelar) mišljenju ne postoji bitna razlika između sanjarenja čije polazište predstavlja neka književna slika ili neka pesma i sanjarenja pred nekom slikom ili nekom gravirom: »Predeo koji je neki veliki umetnik obuhvatio na svojoj slici, uvek predstavlja pesmu« (iz beleške o izložbi crteža i skulptura Rože Plena (Roger Plin), održanoj od 23. januara do 7. februara 1961. godine).
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This paper presents a binary rough assessment of ten public parks in Bydgoszcz, followed by a detailed assessment of one of them – Dolina Pięciu Stawów. The assessment was conducted using the universal pattern of design for health-affirming urban landscapes. The binary rough assessment results were satisfactory and similar for all parks. The results of the assessments indicated areas for possible improvement and can be used by the designers and inhabitants as justification for amendments. The major advantages of selected parks were qualities of space for mental and physical regeneration while the major deficiencies resulted from a lack of recreational equipment for various age groups and limited opportunities for social contacts. There were no major discrepancies and the fact that the rough assessment showed only little variation depending on the size of parks is proof of its limitation. This subjectivity of the rough evaluation was mitigated by a detailed assessment of Dolina Pięciu Stawów. This evaluation indicated further areas for improvement. The universal pattern of design for health-affirming urban places can be used as a ready-to-use tool.
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During an annual state propaganda event, the harvest festival, on the 8th September 1968 a man set himself on fire at the 10th-Anniversary Stadium in Warsaw. Ryszard Siwiec's self-immolation was a protest against the invasion of Czechoslovakia by Warsaw Pact military troops (together with Polish troops). Although there were 100 000 people at the stadium, including the First Secretary of the Polish United Workers' Party as well as most notable party members, representatives from all regions of Poland and diplomatic corpuses, this fact has remained “unnoticed”. The Radio Free Europe broadcasted information about it only a few months later.In 1991 Maciej Drygas made Hear My Cry (Usłyszycie mój krzyk). This film creates/recreates social memory about Siwiec and his tragic death. Drygas used archival material, of which the most important scene is a 7-seconds film footage showing the very moment of Siwiec's self-immolation: a burning figure of a man on stadium tribunes. The Director used rhetorical devices (e.g. reframing, slow motion, a change of scale, repetition) that undone of official state ceremony (a bit like in a magic ritual), that has dominated the perception of people gathered on stadium’s tribunes, and diminish its role and meaning. What was marginalized in 1968 and, in fact, unnoticed, becomes the main focus and a very special ritual; not without hesitance, I would say it becomes a performance (with reference to R. Schechner terms). I juxtapose it with a national drama Wesele (Wedding) by Stanisław Wyspiański (1901) and especially a filmic adaptation of it by Andrzej Wajda (1972).The paper aims to discuss rhetorical devices used by Drygas in his documentary. It will also suggest that film can act as a ritual in itself and as a tool to recreate memory.
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The anti-fascist organization The Young Guard (Molodaya gvardia) in a Ukrainian town is the main focus of the present analysis, offering a glimpse into the Soviet myth-making and hero-making cycle. The article unveils the ideological and cultural patterns during the Soviet period, with a focus on A. Fadeyev’s novel and on the Soviet and post-Soviet film adaptations. The case of The Young Guard organization generated a frenzy of artistic representations throughout the Soviet Union, with various degrees of demystification during the post-Soviet period. The paper highlights the differences in describing and perceiving the heroic/heroicized death in various historical periods. Soviet propaganda traits and Socialist Realism patterns are revealed as part of the Soviet cult of World War II, as well as demystifying steps in approaching the myth of The Young Guard in post-Soviet filmic productions.
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Important historical events such as revolutions sometimes lead to changes in the relationships that individuals have with places. The citadel of Shahr-e No, the largest brothel of Iran was burnt a little time after the end of the 1979 Iranian Revolution. Streets and buildings are one of the most stable social frameworks, they are the one that lasted through wars, riots, and revolutions. They play a key role in the process of recollecting memories. A social group can leave its print in a place, as a place can leave its print on a social group. In the case of the citadel, everything that constituted the memory of the place and of the life that people lived there disappeared. I have done a forensic cartography in order to bring back the memory of this erased place. Indeed, in the absence of oral as well as visual testimony about the citadel, I resorted to the object, that is the map. My practical work in connection with my research work is based on maps dating from before and after the destruction of the citadel and they report on the violence of the erasure of a public space and of its memory. I try to restore a critical relationship between memory, time, place, and political violence.
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Regardless of the circumstances in which they are used, found footage insertions aim to establish for any kind of cinematographic production certain veracity and credibility in regard to the proposed themes and subjects. Given the authenticity of their aesthetics, these insertions seem to present reality as it is, leaving in most cases the feeling that there is no room for artistic interpretation. This paper aims to analyze and debate the usage of found footage in fiction film. Having its roots in pseudo-documentaries, the technique is widely known for its exploitation in horror film as it became an extremely convenient low-budget strategy to build up suspense and create the captivating universes imposed by the horror genre. Analyzing films that set the stage for the subgenre such as Cannibal Holocaust (1980) or more accessible productions like Blair Witch Project (1999) and Paranormal Activity (2007), the paper presents the techniques in which found footage manipulates audiences through certain aesthetic and narrative structures. Studying the means of production and effects on audiences, the analysis intends not only to debate the psychological impact of found footage images, but also to theorize the origin of this subgenre by approaching it from a wider perspective. Recalling David Bordwell’s observations on found footage horror films in his article, Return to Paranormalcy, it is important to insist on the niche that the subgenre unavoidably approaches through its techniques and selection of subjects. Therefore, the paper also aims to integrate the found footage film in a larger context by analyzing the character-spectator dynamic.
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Despite their singularities and divergences, the major dramatic theories of the twentieth century keep the classical tripartition of genres untouched. Our recent research on rhapsodic criticism has evidenced the increasingly appropriation by playwrights of elements traditionally reserved for a fourth genre, as important as epic, lyric and dramatic genres, but left aside by critical reflection because of its traditional association with “non-artistic” practices: the essayistic genre. A new theory of genres that incorporates this fourth genre into the classical triad may not only illuminate some of the main features of modern and contemporary drama, but it also allows a more accurate understanding of some of the fundamental works of Western drama.
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In the work "Art and Visual Perception. A Psychology of the Author's Creative Vision” by Rudolf Arnheim, following some researches/studies of Gestalt psychology applied in the field of visual arts and/or cinematography, the author states: "It is unlikely that any stroboscopic "short-circuit" will occur as long as objects appear on the screen at a sufficient distance from each other." An observer-spectator only pays attention to what he/she receives. A speedy stream indicates unity. It is precisely for that reason that the vehement and effective ways are indispensable in order to render indisputably the intermittency-discontinuity. The stroboscopic dynamics overlooks the physical source of the visual tangible material. In that case, the visual identity does not start to be problematic as long as an element-object keeps staying in the same place without any inversion or transposition of its appearance - for example: the video camera that does not change its position but registers the building. For the same reason, we have the actor/actress who crosses the screen keeping his/her con-similarity (just walking down the path) without substantially changing his/her size or shape. The nature of the issues only appears under visual circumstances when they invoke/guide where it does not exist or vice versa. Alexander Archipenko (1887-1964): "In order to perform the movement, static painting must resort to symbols and conventions. It did not go beyond fixing a single "moment" in the sequence of moments that make up a movement; all other "moments" before and beyond the fixed movement are left to the imagination and fantasy of the spectator."
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Monday on February 24th 2020, in the Auditorium of Mihai Eminescu Central University Library in Iași the show-recital entitled Dragobete Stories took place. Having the love theme, 4 teachers and 9 singer-actors from George Enescu National University of Arts present to the public arias and duets from the national and international repertoire, pages extracted from the genre of opera and operetta. The excursion on a route that included opera seria, comedy, historical opera, lyrical-dramatic legend, Viennese operetta, Romanian operetta, Russian operetta was coordinated by the presentation of Lecturer PhD Mrs. Consuela Radu-Țaga. The interdisciplinary team set out to remove the boundaries between music and theater, among the subjects of canto, piano accompaniament, acting, scenic movement, opera class, and singer-actors proposed a scenic language dominated by lyrical-dramatic coordinates. The staging benefited from the fruitful collaboration with Lecturer PhD Mrs. Dumitriana Condurache (stage director), and the piano accompaniament was made by assistant professor PhD Raluca Ehupov and assistant professor PhD Laura Turtă-Timofte.
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This presentation of works by the Slovak photographer and teacher Lena Jakubčáková (b. 1980) is based on a selection of two scholarly articles that were written about her and some author´s texts or fragments from her books. Together with her biographical information and a brief overview of her exhibitions at home and abroad, the magazine provides information about Jakubčáková’s activity as a creative photographer. The articles, by Jindřich Štreit (2016) and Ivana Komanická (2017), offer interpretations of her key series – of her two long-term documentary projects, which essentially talk about prison, faith, solitude, individual freedom and revolt, and which were completed in the form of a book. The author´s texts and the excerpts from two books File 44 and Granny from the Woods reveal her relationship to the photographed persons. Everything is accompanied by more than fifty photographs, in black-and-white and in colour, some of which come from the author´s archive and the exhibition documentation.
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Michelangelo Antonioni’s "Zabriskie Point"(1970) – a film about political and cultural unrest in the US in the late 1960s – not only was a commercial failure, but it was also completely destroyed by American (and not only American) critics. Masłoń tries to show that the allegedly simplified representation of American conflicts that the film is accused of showing, is in the "Zabriskie Point" a reflection of ahistorical pastoral ideology, professed by a large part of American society, which Antonioni not only presents, but also analyses. What is more, what critics took for naive and groundless idealization of youth counter-culture, if one looks closely at the film, turns out to be an unbiased and perceptive analysis of the mechanisms of their fantasy and their relationship with the virtual world created by the media.
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The author attempts to analyse the film "Happy Together" (1997) by Wong Kar-wai in terms of auteur cinema, road movie, motifs of Chinese and Argentinian culture, and the political situation. The focus is on the journey of a pair of homosexual protagonists to Buenos Aires, where they try to save their relationship, but they break up and try to live separately, although their paths still cross. Argentina, that from the perspective of Hong Kong is highly exotic, overwhelms one with emptiness and gives rise to alienation, which each of the characters tries to overcome in their own way: by working and saving for the return ticket home, or by immersing and losing oneself in the night life. Although the film is set in Buenos Aires, there are many motifs derived from Chinese tradition, such as strong family ties or filial piety. Happy Together also has an atmosphere of imminent defeat that accompanied Hong Kong residents before July 1, 1997, when the British colony became once again a part of China.
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