Mesék meséje épített környezetünkről (IV.)
A text written by the architect Szabolcs Guttman.
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A text written by the architect Szabolcs Guttman.
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The article follows the avatars of the Loredana Groza brand, started in the 80's, when the artist began her career, until today. The purpose of the analysis is to highlight the forces that acted and led, in the post-communist period, to the formation of a capitalist music industry. In this regard, Loredana Groza, who was a major player in this industry, is a suitable case study. The article combines theoretical resources of cultural studies and media with hermeneutic analyses of musical discourse in the Romanian context. In fact, the overall analysis targets the discourse and has nothing to do with any “musicological” or “fashionable” approach. Last but not least, the article explains the way in which the star system tried to create an image of the new woman in the postcommunist era.
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Within the framework of book culture, the Carthusian order is characterized by its scripting, illuminating and bookbinding production. We approach the third aspect in this study through the press with the provenance of monasteries in Skala útočišťa – Lapis refugii (Letanovce) and in Červený kláštor (Lechnica). The symbolism of the decoration used in the preserved print bindings points to their spirituality. We find floral motifs of stamps, especially rosettes, lilies or an interesting thistle motif. From zoomorphic motifs, we present the motif of a pelican, a lion and an eagle. The composition of one copy in the study reveals an atypical decoration design. Interesting numerical symbolism can be noticed in the bookbinding decoration. Research in the field of bookbinding enriches us from a historical and artistic point of view and completes the overall picture of our history.
More...A Román Nemzeti Színházi Fesztivál
Az essay on the National Theatre Festival in Bucharest, Romania.
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Essay on the Warsaw Theatre Meetings in Poland.
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This article aims to demonstrate the theme of the dream as it evokes that incomprehensible universe, in which the mind is well detached from reality and any representation, allows the unconscious to create disturbing images and takes us into a world made sometimes of past and sometimes of future, made of surreal situations and impossible logical developments, and the Pre-raphaelites who presented the theme of the dream with a strong romantic participation.
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Ion Vlasiu was a well-known Romanian sculptor, painter and writer, the author of many monuments dedicated to important events or personalities of the Romanian history and culture. His correspondence with the writer and diplomat Ion Brad (40 letters sent between 1963-1985, most of them from Bistra, Mureş) is preserved in the Special Collection department from „Octavian Goga” Cluj County Library. These letters illustrate not only Vlasiu’s artistic projects but also his personal thoughts and feelings, written in a very distinguished original style.
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Through a multidisciplinary approach that combines translation studies and gender studies, this paper analyzes multilingualism in the series Unorthodox (Netflix 2020). We examine the presence and functions of identities and gendered roles in the series. Unorthodox tells the story of Esther Saphiro (Esty), a young Jewish woman who flees from her country and leaves her ultra-Orthodox community, with very strict rules and traditional gender roles. We explore the connections between the gendered roles of the main characters, their cultural or social contexts, and, especially, the role of third languages in the series (Yiddish, German, Russian, and Hebrew). As it is a German-American production, we consider English as its main language (L1) because the story is directed to mainstream Western audiences. The role of third languages (L3) is very relevant in depicting the intercultural encounters in the series. Yiddish is the most prominent L3 followed by German and a little Russian and Hebrew. The most recurrent functions of L3-instances are signaling otherness and character portrayal, where Yiddish and German are used. Hebrew is used for ceremonies, prayers and songs, and it portrays Jewish characters in their traditional contexts. We pay special attention to songs, as rich L3 instances, where there is interaction of L3 function, gender significance, translation strategies, and narrative roles. The translation of songs shows the relative importance of conveying the word or the music. Finally, the identification of third languages is not marked in the subtitling of either songs or dialogues; therefore, language diversity can be hindered for audiences not discriminating between the various languages.
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This article introduces the concept of creactivity – the process of making creative solutions to provide emotional accessibility, especially in subtitling for the d/Deaf and the hard-of-hearing. It is based on the findings of the PhD thesis Creactive Subtitles: Subtitling for All, defended by the author in 2016. To understand the need for a new way of providing accessibility, a review of digital communication is presented. It illustrates the pivotal role of digitization at present, after the pandemic has increased digital inequality for those who lack digital skills or access due to their sociodemographic background or sensory impairment. The impact of deafness is discussed, particularly, how early hearing loss influences the cognitive, communicative, linguistic, and social development of children and affects not only their language choice, but also the way they communicate, understand, and perceive the world we live in. Thus, to transmit what is perceived by means of hearing to make the audiovisual message complete for everyone, Sala [2016] designed the creactive subtitles. Targeted at younger (deaf) audiences, they are visual tailor-made subtitles designed ad hoc to be adapted to the unique features of each audiovisual product and its audiences’ abilities. Now that creactive subtitles are a reality, creactivity becomes the new goal: to spread the attitude to create new solutions in favor of accessibility.
More...The Case of Thai TV Series, English Subtitles and Spanish Fansubs
Fansubbing has generally been characterised by particular features that deviate from professional subtitling conventions; however, recent research begins to show the complexity of the phenomenon and hints at how the line between the professional and the amateur practices is blurring [Dore and Petrucci 2021; Massidda 2015]. The case of Diary of Tootsies, a Thai comedy series and its translations is another representative example of the interconnection of professional and amateur AVT and the need to question the dichotomy between the two practices. This paper revisits professional subtitling conventions and the unconventional features typically associated with fansubs, and then maps them onto the subtitles in the indirect translation chain: the official English subtitles, used as a pivot, and the fansubs created by Spanish-speaking fans. The findings reveal several textual features that are usually attributed to fansubs can also be detected in official subtitles, for instance, unconventional uses of orthotypography, informal abbreviations, and additional explanations. Textual evidence indicates further blurring as these distinctive traits are not always adopted in the corresponding Spanish fansubs. In some cases, fansubbers opt for translation decisions more typical of what might be expected in professional subtitling.
More...Szerkesztette, fordította és a bevezetőt írta: Boronkay Soma
Essay on Rimini Protokoll's book, "ABCD"
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The purpose of this article, as far as it is a part of a large study which concerns with the historical figures of μουσικός (an antique notion), musicus (medieval one) and musicologist (a contemporary concept), is not to paint a portrait of Dahlhaus’ musicological work reflecting the character of a whole epoch, but to trace some turning points in the history of the science of music, which manifest what is constant and at the same time bring what is changeable in it. The phrase “all-embracing study of music”, borrowed from Elements of Harmony by Aristoxenus, allows outlining a parabola between the times of Classic Antiquity and these here described as Classic Modernity. What is common between them is the idea of wholeness of the science of music, uniting the all possible diversity of its inner branches. Dahlhaus’ musicological works give a testimony for the wholeness being kept. Why then should we speak about “the end”? This end is inescapable and it comes under the pressure of what Dahlhaus names “musical givens”. Enthusiastically maintaining the necessary for the music researcher to go all over from and to hold on to these givens, and recognizing their scattering from one another, he eventually acknowledges the centrifugal force reasoning the disintegration of the very science of music into specialized and disconnected from one another disciplines, and actually – its end as an all-embracing study.
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Of particular interest in the field of liturgical theology is one of the most ancient written sources, reflecting the liturgical, song and hymnographic practice of the Jerusalem Church in the initial period of the formation of the Liturgy. The publication of the original text of the Diary of Etheria (also called “Diario di Etheriae”, “Diario di viaggio”, “Peregrinatio Aetheriae”, “Peregrinatio ad Loca Sancta”) in Bulgaria in 2019 with liturgical, historical, topographical, spiritual and ascetic comments on the text, proved to be unique and valuable for Bulgarian science. Undoubtedly, the text reveals many important facts about the liturgical worship of Jerusalem in the 4th century, which are presented directly or indirectly by the author of this ancient written monument, and musical and hymnographic features are offered to the reader’s attention in the following lines.
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The repertory of Wurstisen lute book (CH-BU MS. F.IХ.70) is distributed in eight parts (or books) on the basis of genre. The fifth book is dedicated especially to passamezzi – an impressive part of the manuscript in term of size and contents (122 pages with 107 pieces). It is assumed that the passamezzo emerges as a double-meter dance at the first half of 16th century and its music is composed upon a fixed chordal succession, like many of the popular ground forms at the time. During the second half of the century and especially toward its end, the passamezzo became a favorite ostinato frame for writing/improvising passages and variations, experimenting with compositional and instrumental techniques. For that reason it was a preferable pedagogical tool as well. On the other hand, it leads further to some remarkable and well-recognized sets of variations upon passacaglia, ciaccona and folia during the next century. The current paper concentrates on a selection of passamezzi from the Wurstisen lute book, representative of the varied approaches, applied to the ground form. Single pieces, sets of variations and untypical triple-meter passamezzi are discussed together with their afterdances. Focus of the discussion are compositional, instrumental and structural features, which aim to reveal a diversity of approaches to standard and fixed ground scheme.
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„Ambient Music – Directions, Critique, Potential” is the last part of a series of texts on ambient music. In the first two pieces, both published in “Bulgarian Musicology”, the past and present of ambient were successfully outlined. Some of the most fundamental means and instruments, involved in the creation of this music were also discussed in detail. This text looks at the future of the genre and elaborates on some of the possible future directions – within or beyond the boundaries of music. Just like every other cultural phenomenon, ambient has its own controversies, paradoxes and critiques. Thesе, being additional reasons for its constant development, are also discussed here.
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he topic of the organic wholeness in music is central to Heinrich Schenker’s Lehre. According to the early Schenker, music is not organic because it lacks causality and logic, but its effect rests on its imitation of natural organicity. In his later writings, Schenker perceived music as an organic whole and saw this whole as based on natural laws. Throughout the development of his doctrine of wholeness, Schenker conceived of organicity as an “objective” given, essentially independent of all conscious and subjective activity. Consciousness can only contaminate the organic whole – that is why, if the composer or interpreter want to perceive the wholeness of music, they must approach it instinctively rather than consciously. According to Schenker, however, instinct is also naturally given; it is a gift and ultimately a matter of genius, but genius that is founded on laws originating in objectively predetermined nature. Thus, the role of the I relating to the music – composer, interpreter, listener (incl. analyst) – is reduced to “passively” witnessing the immanent organicity of music. If a subject perceives wholeness in music, it is a consequence of its total (instinctive) “occupation” by organic wholeness.
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