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The article deals with the impact of the two major tendencies in education during the second half of the 20th century on the specific character of art education. The first wave of reform was associated with the propagation of the scientific-normative model of discipline-oriented teaching after the 1960s, while the second manifested itself in the ever increasing influence, which the critical models of postmodern theory exerted on education in the 1990s and the early years of the 21st century. According to the author, the methodological alternatives facing art education today depend, on the one hand, on the contradictions between these two models of educational reform and, on the other hand, on the processes taking place in contemporary art and art theory themselves. Important new characteristics of the subject of visual arts in Bulgaria are pointed out, as they are embedded in the new official educational requirements and the new syllabus of instruction in the visual arts. The author also analyses individual elements of the reform launched in Bulgarian art education, and more particularly those interpreting the importance of the postulates of critical pedagogy and postmodern theory for the organization, objectives and content of contemporary art education.
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The monographic study Screen Expression and Literary Language looks at the principles of verbal and non-verbal generalization through screen and literary forms. Analyzed are important examples from world cinema, painting, hieroglyphic and other linguistic theories. These examples are backed up with specific works: Tarkovski’s films, the animation films of Todor Dinov, Strike by Eisenstein, Un Chien Andalou by Bunuel and Salvador Dali. Special attention is dedicated to an old and barely known Bulgarian film The Balkan War. A new linguistic tem is introduced SENSA - by analogy with the term SEMA.
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Communication in cinema is not limited to presenting and perceiving information, managing the message or the creation of meaning. Communication in cinema creates experience of film reality that has been born in the process of communication between the screen image and the viewer. An experience that brings forth the phenomena of spontaneously emerging reality.
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This article, based on the analysis of 25 European films, shot in the period 1973-2003, examines the identity construction in the new West European cinema. The study has a strong focus on works, produced in the last five years, which display a strong tendency to adjust to new European realities the hardened stereotypes, inherited from the Epoque of the Cold War. The West European film- makers tend to represent the crisis of European identity, set in after 1989, as an exclusively East European dilemma. They keep reproducing the well-known stereotype of Western self-identification: a hero, bearer of civilization and humanity, and they persist in multiplying the familiar negative type: the East European, made in the “empire of evil”. After 1995, the negative Eastern stereotype went through a significant transformation: the anti-hero/anti-heroine discarded his/her communist or KGB identity. In recent time, he/she emerges on screen as a Mafioso, or as a criminal, or as a pimp, or as a prostitute, in the best case, as an illegal emigre. Thus, the East European demonstrates on screen three fixed qualities: he/she is irrational, he/she cannot adapt to the Western culture, and he/she is generally characterized as a marginal white. The commonly negative representations of “the other” hindered European cinema from developing a hero with multiple identities who could mediate between the East and the West. We can conclude that in the last decade European cinema reanimated the opposition East-West, and continued to promote negative stereotypes of otherness and difference, in contrast to the process of political unification of Europe. Nevertheless, many European film- makers bear in fact multiple identities. Some of them began to destroy the deep-rooted models of contradiction between the European East and the European West and tried to present on a screen a new concept of interaction and mutual understanding. We regard this development as the most productive tendency in the recent European cinema.
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During the last 10 - 15 years the cinema of the Far East has conquered the world screens. This can be proved not only by the great number of films that have received awards at some of the most prestigious film festivals. The cinema (which can be called “art”) of China, South Korea, Vietnam, Japan wins the hearts of the viewers with its stylistic harmony and the fact that it’s so different from the cinema of the West. Many of the researchers of Eastern culture for many years now have been studying the display of traditionalism and neo-traditionalism in its different forms in contemporary Asian art, culture and literature. Cinema engulfs and assimilates a major part of the symbols, characteristic of the region, the classic genre-narrative structures (from poetry as well as from the prose - dramaturgy, novels, stories). The film language of the East is also entrusted with sacral philosophical and religious motives. As examples of such contemporary films one can point out the Korean film Spring, Summer, Fall, Winter… and Spring by Kim Ki-Douk and Oasis by Lee Chang-Dong, the Japanese Dolls by Takeshi Kitano and the Indian Samsara by Pan Nalin, the Chinese Hero by Zhang Ymou. The idea for a deliberate reconstruction of something well-known turns out to be quite convenient for Asian cinema from an ethical, aesthetical and commercial point of view. Film art as if though becomes a kind of Eastern “to be continued” and not a “remake” of the traditional inception. Because the screen makes possible the adequate new continuation of the triunhy of the classic Chinese term “I” - idea, “Fa” - canon and “Ha” - synthesis on which art is based.
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For centuries Mount Athos, was a place where the cultures of Greece and Bulgaria met and interacted as a result of the mixed cloisters. During the Ottoman rule mount Athos was the custodian of the common orthodox tradition whilst later, during the 19th century, it was the place where the Balkan peoples became conscious of their national identity and begun constructing their national myth. It is therefore completely natural that artists in search of a national expression in art would seek their inspiration there. Among the Greeks we encounter the names of F. Kontoglou, A. Asteriades, S. Papaloukas, P.Ren- gos and among Bulgarians, V.Zahariev, I. Lazarov and especially C.Lavrenov who spent 100 days in Mount Athos in 1935 and created more than 20 pieces directly inspired by his stay there and continued to work on subject-matters of the Holy Mount until the end of the 1940s. This article examines the way C. Lavrenov reaches the idea of constructing ‘national art’ going through the different stages: form his first efforts in the Art Nouveau style, to the exploitation of concrete Byzantine iconographic models and the representation of his hometown Plovdiv with the means of the old Byzantine and Post-Byzantine style. As in the works of many other artists of the period, Greeks and Bulgarians, the architecture of the National Revival period (that is 18th and 19th century urban architecture) is used here as a proof of national differentiation. The meeting of Canko Lavrenov with Polykleitos Rengos in Thessaloniki, in 1935 is one of the few pieces of evidence we have of direct contact between the two countries’ artists. Lavrenov appraisal of Rengos’s works, which, according to him, ‘keep close to the Byzantine prototypes’, are shown to have contradicted the assessments of the contemporary Greek art historians. Furthermore this study will point to some similarities in the themes, composition, and points of perspective in their paintings. In this way the artistic and political project to form a “self-consciously nationalist” art from the materials of a common heritage is laid bare.
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The subject of the article is the Oppersdorff family patronage in Głogówek area in the seventeenth century. Jan from Eberstein, the knight, who came from Switzerland was the ancestor of the Silesian Oppersdorff family. The first seat of the Oppersdorff family was Gać and the next one — Głogówek. In 1562 Głogówek and twenty-four surrounding villages were leased by the baron Jan von Oppersdorff and since that time the catholic count’s family started on a grand scale foundations according to a saying cuius regio eius religio. To such foundations belong: the Loreto Chapel (1629), the Replica of Lord’s Sepulchre from Jerusalem (1644), The Eight O’clock Bell (1650) and a church on so called Gliniana Górka, the St. Anthony Chapel in the franciscan church, the Marian Column in the market square from 1669 and the chapel dedicated to the Virgin Mary of Bardo from 1658. Apart from architectural projects, the family von Oppersdorff founded liturgical garments. In the treasury of the former collegiate church there are three liturgical garments with the founder and his wife’s coats of arms. Three generations of the Oppersdorffs raised Głogówek’s values to such a level, that the town can be called “Upper Silesian Rome”. Numerous foundations confirm the pioneering role and the importance of the Oppersdorff family activities in the spread of Tridential Catholicism in Silesia.
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The women’s requirement for access to the nude in the Athens School of Arts in 1903-1904 raises a lively debate, in which different arguments and positions are submitted. The debate on women’s access to the nude is affected and affects gender power relations and challenges the way masculinity and femininity are conceived and lived out in art and society. Women’s demand to study the male nude in the School of Arts, related to feminism and emancipation, defies the existing power relations in the practice of art. Their participation in the life-class challenges the dominant definitions of the ,,woman artist”, the artist-model polarity in the scopic field of art, and the ways the male nude is perceived. In a period where more modernist discourses on art and on the body appear, women artists may expect to participate in the production of meanings for the nude and specially for the male.
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