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Dwelling, a topic of perpetual interest, is in a continuous metamorphosis. Today we can assert that we are witnessing a complex transformation process through which the dwelling space includes the working space. Examined closely, this phenomenon is anything but new. In the past, before the Industrial Revolution, there wasn’t a clear distinction between home and work, they took place in the same limited space.However, in the contemporan society, the work at home phenomenon „makes place” due to the fast development of the communication and information technologies. In this context it is important to define if these technologies are the purpose or the means of the activity. Also, the article aims to start a larger research that focuses on the return of this work from home phenomenon and how these new technologies influences family lifeand the city. More than this, the emphasis is placed on the concept that the design of the cities and of the contemporary houses should take into consideration this important reorganization of today’s society.
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In light of the contemporary paradigm of quantum reality with research on unified quantum field and energy communication in the Humanities, it is essential to ponder Pavel Florensky’s considerations on the energy effects and energy activity of language, words and space, pertaining both to arts and physics. The Russian language contains the word ènergiynost’ – a much broader notion than ènergiya (energy). In Florensky’s writings this relates to the author’s perception and sensibility for language, art and the space of culture within the integrative tendencies of Russian Cosmism, a subject that has not yet been thoroughly studied. In this essay, we focus on Florensky’s interpretation of the magicity of energy communication, as well as on the energy cognition of its participants. A sensitivity to ènergjynost’ in any dimension of consciousness in communication is being gradually recognised today by both scholars and “non-scholars” who integrate psychological and physiological aspects of cognition. The tendency is to relate ènergjynost’ to an emerging quantum model of reality.
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For a long time there has been a strong link between flowers and sexuality. Flowers are complex symbols and they certainly did not always have salacious meanings; lilies, for example, are associated with the image of the Virgin Mary. There are stricter and more reserved symbols in East Asian and Islamic decorative arts, or in the Netherlands, where tulips had a higher price and value than paintings. The research of this paper will show the rich history of using flowers and its symbolic meaning related to female sexuality through many examples. The aim is to show how this symbolism has existed since ancient times and pervaded history all the way to our times.
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Theatrical pieces of expressive forms, which are a combination of personal statements, diary entries and dialogues, in which the stage presentation of the existential moment of individual protagonists tries to bring to the stage in a lively and dynamic examination with traumatic reality, provide the possibility of choosing different dilemmas. Instead of gradually disappearing in such pieces into undefined and precarious wandering lives, the character of the characters is problematically scaled to the level of facing an inexorable resolution. What can be lost and what to gain in an often unarticulated situation is best and most accurately examined through theatrical pieces, which also treat unconditional sacrifice, sometimes even selfishly, and to go through the dilemmas to face the real (no) way out of a given life situation. The key starting point for entering the situation of resolving the choices that lie before an individual can be the theatrical testimony, already seen or experienced on a stage, and especially for a festival that provides a lot of diversity in one place, in a short period, in terms of performance.
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The theatrical life of the city of Sarajevo is the backbone of the theater being of Bosnia and Herzegovina. Since 1920 as the year of formation of the first professional public theater institution in the country, over the period of the founding of all significant entities of this system in the second half of the last century, the Sarajevo’s theater scene has to a large extent mirrored the trends and facts of the entire Bosnian theater life in all its segments: artistic, production, educational, manifestation and festivals. In the days of independent and post-Dayton Bosnia and Herzegovina, it was precisely Sarajevo’s models of organizing theater life that often exemplified and encouraged other theatrical communities in the country.
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Purpose of the article. The article explores the concept of the «spiritual reality» by W. Kandinsky in the perspective of the historical formation of the avant-garde. The study focuses on a better understanding of the meaning behind the use of spirit, creative spirit, spirituality, and the law of inner necessity in terms of this concept. «Spiritual pyramid» is considered as а visualization of spiritual development in the theory of W. Kandinsky. Methodology. To study the content of theoretical and scenic works of W. Kandinsky we apply historical, analytical, symbolic and allegorical methods. Scientific novelty. Based on the analysis of the theoretical works of V. Kandinsky, the article presents the artist‘s understanding of the essence of «spiritual reality» and describes the means of its visualization in the stage composition «Yellow Sound». Conclusions. «Yellow sound» is an attempt by W. Kandinsky to go beyond the limits of traditional imagery in the visualization of the invisible, inner reality of being. Symbols of the art continuum of «Yellow sound» arise with the semantic codes used in dialogue with the outside world. Bold experiments in the stage composition, including kinks of forms, separation of movement and colors into basic elements, deepening into abstract forms, create a new world of spiritual reality. Visual contact with color and form in a stage composition reveals the depths of spiritual reality. Yellow color acts as an epiphany of spirituality.
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The purpose of the article - select in music galley of XIX and XX century complex of glorify-ecstatic expressiveness, declared religious philosophy-aesthetics at the end ХІХ century and which has obviously discharged the classicist of theatric music dramatic effect, discharged primate a sоnаta forms in structure and semantic multiformity of expressions as a whole. The methodology of the work - culturology approach, as he formed in history science and science about art in works L. Gumilev and A. Losev, in semiotic oriented theological development about P.Florenskij, as well as in linguistical-semiotic oriented musicology of B. Asafiev school in Ukraine. Also methods analytical, historian-descriptive, style-comparative occupy the essential place in work. The scientific novelty of the study is determined by originality to the theoretical idea to stipulate concept of alleluia singing-Transfigurations on Florenskiy of incidence hymn-glorify sounding to the music of the epoch of the symbolism - in counterweight of support to music drama/music dramatic art of New time. Conclusions. Summing up said about hymn-production in music world in threshold and at the beginning initially XX century in manifestation "theories of аlliluia" as entailments of the image of overcoming Transfigurations note - an ecstatic expressiveness to hymn creative power in music works, which substitute the facility an art by light of the Transformation tragedian-dramatic voltage theatricality in classic music of New time, definable attention composer to plot-image holy history, апогеем the manifestations which emerge mystery-worldwide actions, marked by A. Skrjabin and C. Ives. Also, we point to Christian-base stimuli to the concept of A. Skrjabin and C. Ives, which personify that "voltage across pain" religious ecstasy that, on Florenskiy, defines: Transfiguration to weaknesses of the sob - on the strength of and joy of Laud. That is caused to life new monumental type of the array, which was absent in epoch of subjectivism searching to the romanticism, as well as is defined interest musicians to special sort scale one-picturesque compositions, which poly-themes saturation is covered by semantic likening to their content-richness in delight of the Joining. Do stating voltages in the ecstatic effect of the Transfiguration of the transition to weaknesses on the Strength of, which is defined "emancipation of cоnsоnаnсe" (see this term beside D. Androsova) from the dissonance thickening. As example cite on straightening Skrjabin its systems of the expression of the ecstasy by means of the transfiguration of expressiveness to "weakness of the breath" in "chord of Tristan" and "tired archaic type of semitones" in setting-strange images of heroines to Debussy.
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The purpose of the article is to determine the innovation of the composition, decorative and iconographic composition of the Ukrainian iconostasis of the XVII – XVIII centuries in the context of the development of Ukrainian baroque style. The methodology is based on a set of well-established and newest theoretical and methodological approaches and principles, primarily the interdisciplinary integration of the leading methods of modern art history, cultural studies and philosophy. The following methods were used: subject-analytical (for full-scale study of iconostases and graphic material), iconographic (thanks to which evolution of iconographic canons was traced), iconological (for reproducing the semantic field of the artistic image), artistic and stylistic (for revealing the specifics of stylistic innovations in the Ukrainian baroque iconostasis) and others. Scientific novelty. A complex study of the iconostasis of the Ukrainian Baroque epoch has been carried out; identified innovative structural and stylistic components of the baroque iconostasis as a unique poly-semantic education; the specifics of the stylistic changes of decorative elements are outlined and their symbolic value is revealed. Conclusions. The iconostasis of the Orthodox churches of the Ukrainian Baroque era is evidence of the organic combination of aesthetic, moral, philosophical, spiritual and artistic principles of style. A remaining traditional part of sacred art for many centuries, the synthetic by nature baroque iconostasis is positioned by a unique chronicle of national culture, in which besides the symbolic images embodied in the artistic-figurative structure, the national liberation spirit of the Ukrainian nation is reflected.
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Purpose of the article: identify cultural aspects of interpreting vocal-symphonic cycle based on the example «Cantata for soprano and symphony orchestra on the lyrics by A. Pushkin» by the modern Kyiv composer Valeriy Antonyuk. Methodology. The study applied culturological approach and used structural-systemic, interpretative, complex methods with the generalization of the results. Cantata score interpretation by singer Valentyna Antonyuk and conductor Volodymyr Sheik is presented by us as a method of reconstruction and analysis of interpretation, which contributes to the creation of a holistic system of the musical and poetic text. Scientific Novelty is due to the fact that this musical composition by the composer Valeriy Antonyuk has been analyzed for the first time. Conclusions. The vocal-symphonic cycle, being a great form of chamber vocal music, is a kind of generalization of the performer‘s experience. The notions of chamber and cyclicity determine the ways of the performer‘s interpretation of vocal cycles not only as a comprehension of the composer's ideas but also own creative interpretation of the work. Performer‘s articulation, combining cognitive, creative, reflexive components (through the immersion into the atmosphere of a certain era, world outlook and aesthetic orientations of artists – composer and poet) activates the work during the concert. Study of a cantata from the point of view of the cycle formation patterns is directly associated with the problems of the repertoire of contemporary concert-chamber performances, the formation of which is interconnected with the new messages for the listeners. The use of the possibilities of musical analysis and a wide range of potentials of the culturological approach makes it possible to combine individual features and details of the research process into one canvas of the creative portrait of the composer V. Antonyuk in the context of his time.
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Purpose of the article - a comprehension of the Eleventh sonata of Beethoven with position performance musicology, for which epic poet-lyrical line of the work, created on galley proof early and central periods to creative activity of composer, form the performance actual layer of the over-individual lyricism significant for expressive tone art modern post-vanguard - a post-post-vanguard (see. neosymbolism and inherent him "mosaic eclectic" in works of A. Mohl and E. Markova). The methodology - intonation concept of the music, presented in works of the school of B. Asafiev in Ukraine, under that style-comparative and hermeneutic, culturological foreshortenings of the analysis are leading and solving in the study. Scientific novelty - in the independence of the theoretical idea about style originality of the early period creative activity Beethoven in style correlation with neosymbolism of pоstvanguard - a post- pоstvanguard of contemporaneity, defining style performance and auditory choice. Conclusions. The total done analysis emerge the following positions: 1) "general" intonations of the performance of the Eleventh sonata and A. Schnabel, and M. Grinberg are determined semantic element over-individual lyricism mortgaged in music composer text; 2) "general idea" of intonations, embracing united semantic floor poly-theme – poly-structural composition of Beethoven Sonatas, is realized at a rate of rhythm-dynamic facilities, which unite in editorial note (as this is made in publishing under editing A. Schnabel); 3) declared end-to-end performance intonations in the play of A. Schnabel are directed from I part as from "tops-source" to the following parts then beside M. Grinberg underlined epic "двукульминационная" structure with symphonic separation I and IV parts; 4) Chinese performance tradition values the continuity with the world lyric poets, who is presented in "прошубертианской of" line Viennese classicists and concentrated in performance A. Schnabel.
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The purpose of the research is to consider sociopolitical and aesthetical approaches of Soviet musicology to the antinomy «E-Musik / U-Musik», analyzing T. Cherednichenko‘s works that has published before and during Perestroika, as well as after the collapse of the USSR. Methodology. To achieve the corresponding scientific result, the following methods have been used in the article, such as the method of induction (on the basis of T. Cherednichenko's works of different periods the paradigm of her musicology assessment of new music of the «capitalist» world is determined), comparative (for the comparison of T. Cherednichenko's works of different periods), and the complex (for the synthesis of factors and aspects of the phenomenon under the research, in particular, the definition of the role of ideology in shaping the scientific position of musicology in different periods). The scientific novelty. In the article the first attempt to investigate Soviet musicology`s reception of the post-war musical culture for the Iron Curtain in general (avangard, mass culture, as well as their interaction and coexistence). By comparing the methods of analysis used by the Soviet musicologist T. Cherednichenko in her works before and during Perestroika, as well as after the collapse of the USSR, factors that affected on her position regarding new musical trends in the West were identified. Conclusions. Changing of the direction of T. Cherednichenko`s thinking in the late 1980s from ideologically dependent to the positivist, which confirmed in her later post-Soviet works, left their mark on the perception of the tandem «E-Musik / U-Musik». Paradoxes related to the coexistence of «elite» and «mass» musical culture, remain relevant for researchers of musical aesthetics. In the context of T. Cherednichenko,`s works there is an observable link between the ideological thinking and the logical mistakes made by the musicologist in assessing the perspectives for a «capitalist» society. It means just the identification of the «crisis of society» and «crisis of art». This is a thesis which was so widespread in Soviet art history and which has reached the main aim level for researchers. The purpose of the typical Soviet critic was to «reveal» as many as possible logical, at first sight, connections indicating the ephemerality and the crisis of cultural and social processes behind the Iron Curtain.
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The article compares Estonian, Latvian and Lithuanian architecture from the 1920s and 1930s from the point of view of publicly commissioned assignments and architectural solutions. Since these three were ‘beginner’ states at the time, the extent to which they had sufficient professionals (i.e. architects) will also be addressed. Attention will also be paid to the emergence of Estonian and Latvian architecture from Baltic German culture and their architects’ continuous orientation towards Germany, while architecture in Lithuania was more heterogeneous.
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The purpose of the work is to trace the prerequisites for the creation of the choreographer's mastery of the famous Ukrainian director and producer Pavel Virsky, the influence on his artistic activity of the famous Ukrainian and Russian choreographers, which contributed to the disclosure of the creative potential of the young artist. The methodology of the research is to combine the analytical and synthetic method with the historical-arts study, which allows objectively to investigate the conditions for the creation of the creative skill of Pavel Virsky in the context of his business partnership with K. Goleizovsky, M. Bolotov, V. Verhovinets, and others. talented choreographers, whose creativity to this day is an example for many dance directors. The scientific novelty of the materials of this article lies in the fact that in it for the first time on the basis of diverse sources there is an attempt to trace the initial process of formation of creative abilities of the future artist - ballet and choreographer of the stage designer Pavel Virsky and the influence on his work of experienced choreographers. Conclusions: it is proved that the artist's choreography mastery began to form at the turn of the 20-30s of the last century, when different modernist currents appeared in the country contrary to the classical choreography. The creative collaboration with famous masters of the ballet scene during his studies in Moscow and in the process of work at the Odessa Opera House, with the acquaintance with K. Goleizovsky, greatly contributed to the disclosure of the creative potential of the young artist, had a significant influence on this creative process. They contributed to the disclosure of the creative potential of Pavel Virte, which markedly strengthened the interest in the classical dance school, which later became the basis of his folk choreography.
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The purpose of the article is to study the synthesis of ballroom dance and media industry. The methodology of the research is based on the principles of objectivity, historicism, multifactor, system, complexity, development, and pluralism, and to achieve the goal, the methods of scientific knowledge are used: problem-chronological, concrete historical, statistical, descriptive, logical-analytical. Scientific novelty. Interrelations and interactions of choreographic art and mass media in the historical retrospective are revealed; The prospects for the development of commercial ballroom choreography in the conditions of modern media space are outlined. Conclusions. Due to the popularization of traditional dance forms, they are transformed by the terms of mass media culture. An example of this is the active development of commercial ballroom choreography - the creation of individual dance productions for the film industry, advertising, fashion shows, music videos for video format, various television programs, mostly in the form of reality, etc.
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The purpose of the given essay is to trace the interaction of the style piano determinations of Odessa, Skrjabin style type and Beethoven as specific for South Palmyra creative embodiment of the alternatives of Bеethoven style type - Mozart style type, which have noted the world apportionment in piano art from ХІХ to ХХІ century. The methodological base of the work is culturology principle of linguistic musicology of B.Asafiev and his followers in Ukraine, as well as culturological bases in the understanding to traditions and innovations, as they are formed in the works of A.Losjev, I.Ljashenko and the other authors, for whom style comparison and generally scientific analytical principle signify the base positions of scientific search. Scientific novelty of the study is determined by theoretical originality of the collations of Mozart style type - Bеethoven style type in world piano music with style duality Skrjabin style type - Bеethoven style type that has in its base historically-social and cultural quality of the artistic finding of Odessa. For the first time in Ukraine in the declared perspective there are given materials about the activity of S.Prokofiev, W.Malishevski, V.Rebikov, K.Szymanovski and other prominent representatives of Odessa artistic world. Conclusions. Modernistic pro-avant-garde trends of the revealing of the artistic achievements of Odessa at the beginning of XX century form all-embracing relatively to different art types art style paradigm, which we find from fine arts and cinema to music findings, which were formed around culture of the salon meetings. Innovation piano practices of composer and performance creative activity moved away from traditional piano-orchestra findings, which become a factor of academic style of playing in XX century, formed with the last ambiguous and creative interesting entanglements, which have continuation up to present day. The realization of the dialectical principle of the coexistence in Odessa piano art of prosalon Skrjabin style type and academic piano orchestra style, reconstructing the world alternatives of the aptitudes to inheritance of the modernist style or рrоromantic traditional style, allows to emphasize in the specified duality of Skrjabin style type - Beethoven style type original for the given city turn exactly in specified personalization of style line of salon – оrchеstra art. The first of them (Skrjabin style type) certifies the base for the city of the culture of the "gilded age of Odessa" of the end of XIX – beginning of XX century, while the second (Beethoven style type) signifies reality of soviet refraction of artistic bases in art being of the city, total influences of which in artistic saturation of complex being-social vicissitudes have allowed to save the high creative status of South Palmyra and give hopes for conservation and advancement of these artistic accumulations in future.
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The purpose of the research is to analyze heroic themes in Ukrainian ballet of the 20th century using the example of the ballet of A. Hachaturyan «Spartacus». Methodology of the work includes application of comparatively historical, structurally-functional, semiotic and other culturological methods. The scientific novelty of the publication lies in shaping a new opinion about domestic artists of the soviet period and their work on heroic images. Conclusions. Real historical accidents were used as a basis for the «Spartacus». M. Volkov has founded them out from the Plutachs and Appians work. From 1960 till 1970 the ballet had been staged in six leading theatres in ten choregraphic editions, which were written to the music of A. Hachaturyan, in adaptation of M. Tregubov, M. Koryagin, V. Vronskiy, A. Shekera, I. Chernyshov and L. Voskresenskaya. Nowadays «Spartacus» is still staged in the National Opera House of Ukraine named after Taras Shevchenko, despite the low interest to the music of the soviet period.
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Literature builds children’s personal resources. It not only confers knowledge, but also helps to know other ways of thinking and acting. It shows patterns of behaviour that give considerable support in emotionally difficult situation; compensates for any deficiencies; relaxes releasing a good mood. Such an approach to the role of literature shows that the influence on a child using a variety of psychological mechanisms, mainly imitation and identification plays an essential role in the therapy and prophylaxis. Fables, fairy tales (these two concepts often used interchangeably) build a lot of bridges to the art of imagination, to other people and to each other. Therefore, knowing their role is not only interesting but also necessary. Fairy tales are therapeutic means for independent and creative way to cope with the world. They are an excellent way to build relationships between parents and children. They allow to establish a closer contact with a toddler, understand its situation, emotions and a way of looking at the world. Thus, a treatment by fairy tales is one of the best methods to reach the child’s understanding of its problems and provide support in difficult times. The main purpose of the following article is to show how great and educational value of literature is in the life of children; how it can be used to help a child overcome his difficulties. It presents the fairy tale not only as a factor in developing imagination, raising an interest in reading, satisfying curiosity and transmitting moral values providing many emotions, but also as a therapeutic agent.
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Zsolt Szíjártó interprets Rimini Protokoll’s Situation Rooms from the perspective of spaces and media usage, based on principles of cultural anthropology.
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Panna Adorjáni writes about the project realized in collaboration by Krétakör Foundation, Káva Cultural Workshop and anBlokk Association that has created a forum for the conversation between Roma and non-Roma inhabitants of two East-Hungarian towns with the aid of theatrical education, forum-theatre and contemporary art.
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