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The painting of Édouard Manet has often been analyzed by art historians, philosophers and sociologists. What mainly stays in the scope of that analysis is Manet’s role in autonomization of the art field, his ability to portray the experience of blossoming modernity and his groundbreaking ability to depict XIXth century social relations. The most recognized analysis of Manet’s heritage is the one of Pierre Bourdieu. The sociologist raises questions such as relation between „heretics” and academic art, the process of destabilizing the power of consecrated art or finally the process of institutionalization of autonomy. At the same time, Michel Foucault’s view on Manet’s revolution is barely recognized. The aim of this article is to follow three main issues which appear in Foucault’s research on Manet undertaken between 1966–1968 in Tunis. First of all it is playing with the physical properties of the painting (canvas, size, shape, relation between the art work and the exhibition space). Second of all it is the way of using light (starting from the natural lighting to the lighting created by the painter). What is most important, the question of yet emerging relation between the viewer and the XIXth century art work will be undertaken. On the one hand the author discusses the changes in humans’ perception of that time. On the other hand she elaborates the problem of involving art in disciplinary processes. In that context the article also tries to reflect on possible ways of analyzing issues such as power or discipline.
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While we are living in rapidly changing environment driven by the online services, marketing has been rather reluctant in serious apprehending of these consequences. We do not aim to analyse this complex delay that we call conceptual jetlag here. (Conceptual consciousness of marketing is far behind the velocity of the plane online services.) Rather we try to establish certain switchback that is driven by concept of philosophy by Gilles Deleuze and Félix Guattari and the artistic notion of postinternet. By these means we aim at unveiling the general drive of marketing: The product (take Photoshop as an instance) is meant not only to satisfy our needs and desires. It is creates them. This basic assumption of marketing and the dominance of online environment can elucidate each other since the "fluid ontology" of virtual environment consists precisely in the possibility of being formed by the will of its users.
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The thoughts that no one can say boldly about the end of art, but are sometimes said to be implicit or implied, raise some questions. The idea that art, which is an effort of human self-creation, ends or will end is an unpleasant prophecy. What is the basis for the ideas raised within this context? The questions posed by the idea of the end of art are: does art, which is peer to human, has really come to an end or is the idea of the end of art a reality beyond prophecy? These kinds of questions are not the first time asked when the development process of art is examined. Whenever humanity has experienced a confusion especially in the face of technological innovations, the art that had to redefine itself entered such deep identity crises. In order to provide satisfactory answers to the above questions, it is necessary to know the postmodern perception that the world today is based on. Accordingly, it is important to determine how the human is processed, in which position it is seen, what role is played in the cultural structure, in the developing new world design. In addition to the technological developments, technical innovations and transformations brought by the tools, the paths and methods followed by both corporate and external art events should be taken into account. It is not easy to say that anything has ended, died or was born or resurrected. In this respect, theoretical answers were sought for the above questions by connecting with the thought patterns that art was accepted as autonomous, original and most importantly elitist in the past and taking into account the cultural, social and economic structure of the postmodern world, the extremely wide limits enforced by technology, and the production forms and functions of art, in this article.The implication revealed as a result of the discussion is that the most important factor that will determine the future of art is human as in previous periods and the attitude that the artists will take will determine the result.
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In this Introduction, the author discusses the other articles contained in this volume and attempts to present the processess involved in art as stage preformance of both human and non-human actors. She not only examines the objects and persons but also aesthetic categories and the mechanisms involving categories in art. The author proposes a new language that allows for the description of art as a phenomenon of entangled objects, subjects, media, processes and events.
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The Closing of Kunstania is a short tale about art that has been hidden away from its audience in a garden behind high walls. In this refuge, there are neither audio-guides nor art education nor interactive apps. Kunstania reminds us of another possibility to encounter art without mediators, without an aura of masterpieces, and without the promise of an extraordinary event. Instead, a way through a labyrinth of rooms and corridors, where, perhaps, things and tales are stored, but must be found on your own, wandering, returning and recollecting.
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The article is an attempt to analyze drafts as an artistic form crossing the boundaries between what is literary and what belongs to the visual arts. The material undergoing interpretation here is Tadeusz Kantor’s Drafts series, which consists of the artist’s notes, staging remarks, and notes intended for display in the form of enlarged photocopies. Kantor’s drafts represent the type of thinking about passing, art and the past characteristic for this artist and for the contemporary nostalgic, historical imagination. That is why the topic of the archive in the context of Kantor’s art also enables discussion of Derrida’s archive fever, the problem of traces and the paradoxes of modern memorial discourse.
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The subject matter of the article is Gilles Deleuze’s considerations on the concept of “any-space whatever” and its application in the cinema and the theater. This space is an outcome of the sensorimotor crisis as the development of Henri Bergson’s conception of duration to determine the potential transformations of modern cinema in the post-war period. It is expressed by a potential singularity that finds its locus in pure optical and sound situations. This conception reveals the correlation between the real and virtual connections defined by a genetic sign which relies upon differentiation. As a space characterized by an affection – image is experienced from its inside to define both disjoint and empty spaces. Such affect often emerges in a range of colors to outline the places marked by emptiness. It is strictly associated with “geometrical” orientation actualizing itself via the qualisign. Thus, this article defines the space in terms of the circuit of virtuality and actuality in time-image which crystallizes both in the cinema and TV dramas of potential exhaustion of three languages in theater performances. Namely, the first one is disruptive and enumerative; the second language consists of voices and combinative flows and the third one reunites the previous ones as the language of images, sounds, and coloring which is a movement between words.
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The article seeks to analyse Jean Cocteau’s Orpheus (Orphée, 1950), the second film of his Orphic Trilogy: The Blood of a Poet (Le Sang d’un Poète, 1930); Orpheus (Orphée, 1950) and The Testament of Orpheus (Le Testament d’Orphée, 1959), featuring a mystical character, clearly associated and synonymous with himself. The work addresses the sources of his ’Orphic’ inspiration and artistic challenges at several levels. At the first level, the genesis of his dramatic work, associated with the mythology of ancient tragedy and concentrated between the 1920s and 1930s, is traced. Reverting to ancient myths in the field of drama in Europe became particularly tangible in the 1920s, explained by critics as a kind of reaction to the existential problems caused by WWI and its aftermath. Cocteau’s approach to ancient tragedy sought to reduce its ancient dimensions, to modernise Antiquity by demythologising it and to decrease its high values to the mainstream. After Antiquity, Orphism resurfaced in at least three major stages in the development of the European civilization, on the traditions of which Cocteau drew his images, symbols and notions. The first significant to the peculiar interpolation of Orphic ideas into the Modern World period was the one during the Renaissance with Florence and the figure of Marsilio Ficino as its spiritual epicentre. The image of Orpheus and his works were of particular importance to those Renaissance thinkers who sought to bring Christianity into line with ancient classical traditions. Orpheus became once again a significant figure to German and French Romantic poets. The next significant period of the ‘resurrection’ of Orphism came with the French fin de siecle, when Symbolist poets and artists turned to the tradition of Orphism, set between the Platonism of the Renaissance and modernist interpretations, mainly in the ideas of Stéphane Mallarmé, Rainer Maria Rilke, etc., about Orphism as art for art’s sake dematerialising reality. The new ‘Orphic religion’ of Cocteau was neither a figment of his imagination nor a result of random and unsystematic eccentric experiments, nor of mechanical borrowing and superficial imitation. This concept broke with the literary tradition of the ancient mythological narrative of Orpheus and Eurydice through the prism of modernism to give rise to a remarkable avant-garde experiment. With all the multiplicity of sources of ‘orphic’ inspiration over time and authority, Jean Cocteau was doomed to create his own, personal mythology, focused rather on himself. Orpheus is the ideal matrix for exploring the poet in his relations with love and death, as is the mirror for the nature of artistic creativity, respectively poetry, reflecting reality in an ideal, intangible image.
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Shakespeare's research on the deformation and influence of China constitutes an important field of cultural, literary and dramatic relations between China and foreign countries. This article comprehensively and systematically introduces the spread, translation, adaptation, and performance of Shakespeare's plays in China over the past 60 years. Tightly around the deformation and variation of Shakespeare's drama, from the perspective of text adaptation and stage combination, it contemplates the “Chineseization” by adaptation process. The study also examines the collision and integration of Chinese culture with the different aesthetic principles of realism and freehand brushwork for both Shakespearean and Chinese drama.
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Hesperides, or the Muses’ Garden is a 17th-century manuscript commonplace book compiled by John Evans, now collected mainly at the Folger Shakespeare Library in Washington D.C. The commonplace book has been known primarily for its Shakespearean connections. Borrowing Gunnar Sorelius’s useful term “spontaneous editing,” I discuss it as a way of reading. According to Robert Darnton, the early modern segmental reading contrasts with the modern sequential reading. I maintain that the commonplace book compilation process, as can be inferred from the extant manuscripts, offers an intimate peep into a particular type of early modern reading practice. Hopefully a detailed analysis of the reading activities of John Evans can add to our understanding of the nature of early modern reading, especially commonplace reading. I argue that the defining features of commonplace reading include the fluidity of the text, the subjectivity of the reader, and the multiplicity of the authorial intention.
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The study presents a series of reflections on the Romanian theatrical heritage, shaped by taking into account the Romanian cultural, social, technological and economic context and the theatrical trends. Over time, with respect to this context, artistic management has undergone technological, cultural, and social changes that have influenced the processes of selection, conception, construction, planning and representation of theater performances, the processes of creating and transmitting artistic messages, involving the public in the artistic process of creation and establishing the repertoire, the relationship between the public and the artists, and so on. The reflections on the recovery of the theatrical heritage concern both macro-culture and micro-culture levels, even if these can be separated only in an artificial manner,for didactic purposes, in order to be analyzed. In fact, there is a two-way ‘communication’ between them since they are interrelated and provide a functional integrative-dynamic unity in order to ensure the value of the art that is promoted.
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The total artwork has been defined since the mid-1800s as the artistic integration, within one piece of artwork, of all (or at least many) of the major art forms, such as drama, music poetry, dance, and architecture. Its definition and application is currently, in the 21st century, afresh debated in international scholarly literature from various academic fields (such as comparative literature, art history, philosophy, linguistics, and music). This research studies the total artwork under theoretical, methodological, and empirical key aspects, via a comparative literature analysis and transdisciplinary investigation. This research coincides with the renewed scholarly interest, an ever more widespread access of artists to potential media of expression, and a rising popular demand for works of art that might be considered as “total”. Therefore, the area of this research is located in both comparative literature and contemporary art history, the nature of the research is both theoretical and applied, while the methods of the research are firmly taken from comparative literature, Comparative literature’s methodological potential is shown with references to systems theory as well as to feminist and cultural studies, supporting this research to include the relationship between artworks, literature, and society.
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Photo-documentary exhibition “Hungarian traces in Shumen” was opened at the Hungarian Cultural Institute in Sofia. It was produced by the Regional Library “Stilian Chilingirov” – Shumen in partnership with the Hungarian Cultural Institute at the Embassy of Hungary, in which it was exhibited.
More...Филм и изложба за великия писател Джордж Бърнард Шоу в Националната библиотека
The Irish Embassy in Bulgaria and the National Library “St. St. Cyril and Methodius” presented a different perspective on the life and work of the renowned Irish writer Bernard Shaw – with a movie and an exhibition.
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Review of: Katja Praznik: Paradoks neplačanega umetniškega dela: Avtonomija umetnosti, avantgarda in kulturna politika na prehodu v postsocializem. Ljubljana: Sophia, 2016. 321 strani (978-961-7003-05-5),
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Lucrarea de față prezintă succint caracteristicile muziciibisericești ortodoxe din zona de vest a României, arătând totodatălegăturile acesteia cu muzica bisericii sârbe, cu care în fap creează un totunitar. Totodată sunt prezentate două studii de caz privitoare la unitateareală a variantelor muzicale bisericești din vestul țării cu cea a BisericiiOrtodoxe Sârbe, aceste fapt fiind un excelent exemplu de osmoză culturlăbalcanică.
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The topic of this text is the photographic archive of Stefania Gurdowa. An unexpected discovery of her 1200 glass negatives, walled up in an attic in one of the town houses in Dębica, was made in 1997. Intermittent numbering demonstrates that we are dealing with fragments of a wider photographic body (whose extent remains unknown). The very existence of this collection (which is actually coincidental) generates two important questions: what does the process of situating photographs within an archival context say about them, but also what do they contribute to knowledge about the composite and unambiguous idea of an archive? While attempting to bring the Gurdowa archive alive the author of the article confronts the artist’s glass images (in a representative selection) with poems-biograms from Spoon River Anthology by E.L. Masters.
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This Theme is a portrayal of the presence of the theme of Holocaust in the post-war circulation of folk art in Poland: the oeuvre of artists and the strategies of collectors, custodians, and curators. The author devotes much attention to the role played by Aleksander Jackowski, for many years editor-in-chief of “Polska Sztuka Ludowa” (1952–1998), in generating the reception of so-called “naive art”. References to biographies of persons creating the circulation of this particular art together with their wartime experiences comprise a backdrop for reflections dealing with the impact of anti-Semitism in Polish culture. The text was written upon the basis of the outcome of the Awkward Objects of Genocide research project realised as part of the activity of the Transmitting Contentious Cultural Heritages with the Arts: From Intervention to Co-Production: TRACES (2016–2019) European consortium concentrated on controversial European heritage. More on: www.widokzzabliska.eu (www.terriblyclose.eu).
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