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Взаимодействие на цвят и светлина в архитектурата

Author(s): Gergana N. Stefanova / Language(s): Bulgarian Issue: 4/2015

Architecture, vis-a-vis other arts – theater, opera, ballet, theater, etc. is a static art, with very few exceptions – such as the movements in the buildings of Santiago Calatrava. However, in addition to mechanical movement, in architecture the fourth dimension – „time“ can be added to the architectural composition by means of light and its integral part – the color. Once, this can be the light of our star the Sun, who gives different colors to the hours of the day. Secondly, change can be accomplished by artificial light, using new technologies as led (light emitting diode), so interiors and exteriors can shine in different colors. All depends on the fantasy and courage of architects. In the following paper some case-studies with interaction between light and color are explored and also the impact on people, living or visiting those buildings or interiors is researched.

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Архитектурни намеси в (под)покривни пространства

Author(s): Kliment Ivanov / Language(s): Bulgarian Issue: 4/2015

Lack of space is one of the key issues in the contemporary city. In pursuit of more habitable space architects are looking up and expanding upon the rooftops of the existing buildings. This tendency is getting momentum and needs further investigation. This article presents a case study of several roof remodellings and extensions in various European countries in an attempt to find, analyse and explain the current trends in contemporary rooftop interventions. These are defined as partial adaptive reuse. Thus they are in accordance with a system, devised for adaptive reuse of buildings in the previous works of the author. Based on it they can be examined in correspondence with the two main methods of intervention between the existing building and the new construction – according to the ways of expression and according to the ways of interaction. Each method has several subcategories and allows for precise definition of every case. Furthermore, an explanation of the main causes for the roof expansion is proposed. In this way a better understanding and analysis of this matter is presented to both the architectural community and the potential developers.

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Музеят като нов тип сграда

Author(s): Violeta Shatova / Language(s): Bulgarian Issue: 4/2015

Museums have experienced a deep change. They have expanded their programs and missions far beyond the display and storage of valuable cultural objects. There is a meaningful tie between culture and tourism and in the last twenty years they appeare more and more as an opportunity for urban renewal. The end of 20th century witnessed what the New York Times described as „the broadest, grandest, most ambitious museum boom“ in history, and this continues. Spectacular museum buildings energize their host cities by attracting visitors from all over the world and re-qualify territories. City officials and architects are tend toward showpiece museums which become real cultural events at a local, national or international level.

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„Модерна архитектура“ кратко представяне на елементи от архитектурната теория на XX в. на примера на творчеството на Отто Вагнер

Author(s): Vessela Popova / Language(s): Bulgarian Issue: 4/2015

The Viennese Secession has its specific place in the development of the modern architecture. The architect Otto Wagner is defined as the figure that ruled the Vienna architectural scene on the brink of the new century. Having received his education under the influence of Schinkel, Hausen and Zemper and their classic neo-renaissance works, he started creating in the course of historical styles. The changes in the society that followed the industrial revolution – cities, growing influence of technology, etc., changed his views on architecture and thus, he became a charismatic figure of the Vienna Secession movement. Teaching played a great role in the life of Wagner. For his students he wrote and published the book „Modern architecture”, where he expressed his understandings on key architectural issues – architect, style, composition, design, and artistic practice. Ding so, he contributed to the theory of the modern architecture. In his works Wagner examines the relations between construction and art form; or between realism and idealism; displays the relations between taste, fashion and style; justifies the failure of the eclectic architecture in modern times. Despite of the importance which he puts on the colossal technical and scientific developments and on the practical approach, he also pays attention to the perception and the coverage of the cultural situation of modernity. Later many other architects will develop modern architectural forms and aesthetics and will look for a correlation with the world of technology, but through his projects and buildings, his urbanistic and theoretical work and teaching, Wagner has gone a remarkable way and provoked a response in the architectural world long after his time.

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Датски мебелен дизайн

Author(s): Rumiana Sekulova / Language(s): Bulgarian Issue: 4/2015

The article explains the concept for Scandinavian style in design. Shown are examples of Danish design which have become icons in the contemporary design. Renowned Danish design companies are listed. In short was traced the development of the Danish furniture design from the 20th century, with works by Kaare Clint, Arne Jacobsen, Hans Wegner, Finn Mogensen, Børge Yul, Werner Panton, Nanna Ditzel, Grete Jelk.

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Устойчив дизайн за функционални пространства

Author(s): Banko Bankov / Language(s): Bulgarian Issue: 4/2015

One of the main obstacles which modern industrial and product designers have to face is the mass production driven by contemporary culture and way of life. The faster, the design evolves the more dependent to everyday object it gets. More designers are trying to find alternative solutions for simplified way of living which is becoming more urgent because of social, environmental, economic and often personal reasons. The article examines products designers Ahmed Fewzy, Rolands Landsbergs, Feviz Karaman and analysis of the creative sequence for functionally and conceptually forming of design products.

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Дизайн от дървесина – традиция и новаторство

Author(s): Ivanka Dobreva-Dragostinova / Language(s): Bulgarian Issue: 4/2015

There are many examples for the application of timber in contemporary design, however, some of the most attractive ones are those related to the development of sustainable design. In these cases the interventions in the natural structure of the wood are reduced to the minimum. Often the production technology corresponds to the ancient and traditional practices for wood-processing, while as raw material are used materials with interrupted structure or of low technological quality.

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Временните търговски обекти – различен модел на фирменa функционалност

Author(s): Sofroni Varbev / Language(s): Bulgarian Issue: 4/2015

A new business pattern has appeared in the highly developed countries in the recent years. It became popular with the English word „pop-up”, and represents a different and much more flexible means of commercial realization. Unlike the conventional shop, which is firmly fixed and its aim is to achieve a stable profit level, the „pop-up“ shop is mobile and its most characteristic feature is the temporary character of its commercial activity. Depending on the company policy, it can exist for only a few days, or, recurring at regular and planned intervals, to change its location. The temporary enterprises have proved to be an effective means of realization of the company strategy, which is why they are utilized not only in the sphere of the exchange of merchandise, but also in the field of the services.

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The Significance of the Arts in Culture: Learning through Children’s Literature

Author(s): Janelle B. Mathis / Language(s): English Issue: 01/2015

Cultural studies frequently rely on the arts to reveal traditions, history, ideologies, and other aspects of a particular group. However, at what point and how are child readers asked to consider the significance of the arts to individuals’ cultural lives? This paper shares an inquiry that addresses how children’s literature, outside being a distinctive art form in itself, can offer stories that place the arts inseparably at the heart of one’s life experiences – defining culture, traditions, family history, and personal identity. The inquiry shared here focuses on a text set of 12 children’s picturebooks in which characters connect to some form of the arts in very specific and purposeful ways – facing a life challenge as a result of his or her passion for the arts or a challenge for which the arts hold resolution. Through the lens of New Historicism supported by social semiotics, a critical content analysis of these books reveals their potential for powerful, authentic insights into the role of the arts in one’s personal culture.

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Cultural Heritage in Picturebooks: Mauri Kunnas’s Doghill and The Canine Kalevala

Author(s): Merja Leppälahti / Language(s): English Issue: 01/2015

Some of Mauri Kunnas’s picturebooks are examined as bearers of Finnish cultural heritage. His Doghill series conveys heritage by describing country life in 19th-century western Finland. Kunnas’s The Canine Kalevala is an adaptation of the Finnish epic The Kalevala and also includes several adaptations of Akseli Gallen-Kallela’s Kalevala paintings. Both The Kalevala and the paintings of Gallen-Kallela, held in high esteem in Finland, are adapted for child readers by Kunnas, who retells the story by using animal characters, omits problematic issues and adds humour to make it more appropriate for children. An informed adult reader reads The Canine Kalevala as an adaptation of The Kalevala, with an understanding of complex cultural and literary references, while a child reader sees the book as a new, exciting story.

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An Empty Table and an Empty Boat: Empathic Encounters with Refugee Experiences in Intermedial Installation Art

Author(s): Janna Houwen / Language(s): English Issue: 27/2016

This essay is an inquiry into two intermedial installations that address the experiences of people on the run from war or poverty, yet overtly hinder and problematize the viewer’s identification with the depicted refugees. By doing so, Friday Table (2013) by art collective Foundland, and Isaac Julien’s video installation Ten Thousand Waves (2010) differ from the many contemporary discourses dealing with the so-called refugee crisis that suggest a blind assumption of empathy’s benevolence. Taking theoretical texts concerning the relation between empathy, politics and the (lens-based) representation of refugees by, for instance, Slavoj Zizek (2016) and Jill Bennett (2005) as a starting point, I read Friday Table and Ten Thousand Waves as reflections on the pitfalls as well as the critical political possibilities of empathy in contemporary debates on refugees. Moreover, I argue that the two lens-based installations in question are able to examine the limits of empathy and identification with refugees through their common denominator: intermediality. Both Friday Table and Ten Thousand Waves combine lens-based media (photography, video and film) with non-lens-based medial forms such as drawings, graphs and calligraphy. As I will demonstrate, the interplay between different media is decisive when it comes to the way in which the three works of art produce, manage and reflect on the relation between spectators and depicted refugees.

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Hale Seval’in Kırılgan Kuleler Adlı Öykü Kitabının Edebiyat Sosyolojisi Açısından İncelenmesi

Author(s): Türkân Erdoğan / Language(s): Turkish Issue: 89/2017

In this article, Hâle Seval’s storybook, Kırılgan Kuleler, published in 2003, is analyzed from the point of sociology of literature. Being among female writers making a great effort in different narrative types such discussion, review and short story, Hâle Seval is one of major contemporary representatives of the modernist-storytelling tradition. The empathy method is used in present study conducting a thematic analysis. In literary texts enriched in mesh with fiction, aesthetic and real elements, presence of an understanding of storytelling based on human and natural philosophy comes to forefront. Considering Seval’s stories written in the style of modern short stories, society as a phenomenon in her understanding is not a field of collective representations and symbols developed or produced by the intellectual mind. Like the individual, society also takes on meaning within the natural environment. In author’s sense of reality, natural environment-social environmental/social structure exhibit a nested organic correlation. Evaluating heroes/people with their psycho-social and cultural elements, the author calls attention to the impact of social factors on the individual. We may remark that the author often uses ethnographic, historical, cultural and geographical elements in her stories. In this context, analyzing both the sense of authorship identity and thematic content of stories, we can highlight that Hâle Seval’s stories have pioneered in becoming significant examples of the literary type, also called “documentary story” from the point of the history of story in Turkey. Analyzing in terms of sociology, it is possible to remark that the author discusses various themes along with rich content in her stories. These themes in general can be listed as follows: the relationship between individual’s lifestyle with the city phenomenon; gender-based differentiation, discrimination-exclusion formats from the point of women’s class positions; fragmentations and contradictions in individual’s subjective world created by distinct characteristics and experiences peculiar to urban and rural structure; different types of children created by layers of poverty; reflection and experience types of love and sexuality understanding in subjective world and outer-social world; effects of psycho-social and cultural aspects of the migration phenomenon on individual’s life, alienation; philosophical-sociological breaks created in individual’s lifestyle by the ethnicity-induced migration. Sequence of stories and their section titles symbolize a journey from outer reality towards subjective reality, in which reality is gradually exceeded, and a journey towards the author’s world view and artistic information layers relating to the existence.

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POST FOLKLORE AS A PHENOMENON OF MODERN COMMUNICATION PRACTICES

Author(s): Zhanna Zaharivna Denysyuk / Language(s): English Issue: 4/2016

The objective of this paper is to study post folklore as a phenomenon intermediated by the modern communication practices. Methodology of the research lies in the applying of general scientific principle of objectivity, culturological, structural semantic and analytical methods to research post folklore as a phenomenon shaped by daily communication practices belonging to the type of social practices conditioned by the evolution of information technologies and communication means and facilities. Scientific novelty of this paper lies in the cohesion between modern communication practices as the key factor and the origin and development of Web-based post folklore texts. Conclusions. Based on the research findings, it was discovered that modern Web-based post folklore is primarily connected with its perception as a communication system, which basis is formed by messages and senses. Responding to socially significant events of current interest and in tune with the collective consciousness of the contemporaries, post folklore works act as means of objectivation of the world in certain categories and images that can appeal to the symbolic and sign nature of various cultures present in the daily socialisation space both at the intellectual and mundane levels. The post folklore, born and circulated in the internet space, reflects those trends of public consciousness that dominate it in the given period. The use of folklore forms of the past and resorting to the meta-language is spontaneous and, sometimes, is of an entertaining nature. In perceiving the reality Web users tend to use folklore forms, which intrinsic metaphoricity enables anonymous creators of internet folklore impart general significance to the up-to-date events.

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Aktorzy fi lmowi, aktorzy teatralni? Polski rynek aktorski ostatnich lat

Author(s): Adam Domalewski / Language(s): Polish Issue: 28/2016

The author of the paper analyzes the career paths of Polish film and theater actors in recent years, taking account of social and institutional changes in Polish theater and cinema after 1989. On this basis, current three strategies present in the acting profession are identified: Courtier, Byplay and Celebrity. These three groups are highlighted depending on actors’ artistic achievements and accumulated symbolic capital. The main thesis of the article is that leading film actors, who are most successful on the big screen, forsake engagement in theater. While describing this regularity, the author provides specific examples of actresses and actors - eg. Magdalena Cielecka, Andrzej Chyra, Jacek Poniedziałek and Agnieszka Grochowska. The article concludes with considerations about the various reasons why Polands market for film actors and the theater market have split in recent years.

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Róża Wojciecha Smarzowskiego jako medium idei

Author(s): Andrzej Szpulak / Language(s): Polish Issue: 27/2016

The text concentrates on the problem of the ideologization of artistic transmission and uses Wojciech Smarzowski film ‘Rose’ as an example. This problem is considered both on several levels: reception, above all the critical-film level, and also on the level of the work itself. The analysis reveals the impoverishment of the message by radical left-wing and also conservative ideologization is becoming apparent. Also a susceptibility of work to discourse of the political correctness is becoming apparent, in addition it is rather superficial susceptibility.

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Lambeth Walk, czyli widz wyzwolony spod presji obrazu

Author(s): Marek Hendrykowski / Language(s): Polish Issue: 27/2016

A quintessential work of British and European cinema of World War II “The Lambeth Walk” is the epitome of world-class art of moving picture editing. Marek Hendrykowskis close-reading analysis places this short movie in its aesthetic, cultural and generic contexts and in the international landscape of the anti-propaganda film.

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Inside Job. First-person Documentary in Trauma Cinema: Balkan Champion (2006)

Author(s): Lóránt Stőhr / Language(s): English Issue: 24/2014

Owing to the disappearance of grand narratives in postmodernism, contemporary documentary has become concerned with personal and collective historical traumas. This paper focuses on the documentary filmmaker’s challenge concerning the treatment of traumatic experience and the reconstruction of historical events. It examines the filmmaker’s position in her own film and her attitude towards her subjects in documentaries on historical and personal trauma in the framework of a case study. The film analysed is Balkan Champion (2006), which launched a new trend in Hungarian documentary cinema, touching on sensitive issues in the collective memory of the nation that include the striking, controversial involvement of the filmmaker herself. Réka Kincses has made an emphatic but highly critical portrait of her own father, the one-time political leader of the Hungarian ethnic minority in Romania, which evolved into a portrait of the interethnic conflicts between Romanians and Hungarians, and the political conflicts arising from the Eastern European transition from communist dictatorship to democracy, as well as their traumatic consequences on the life of an ethnic Hungarian family in Romania. The filmmaker not only confronts her father with his own failure both as a politician and a father, but also challenges her mother’s chauvinism and careerism. The parents’ opinion about and emotional reactions to the Romanian ethnic majority represent the long-term effect of the historical trauma of the treaty of Versailles (1921) and the wounds this left on the collective psyche of the Hungarian nation. A close analysis demonstrates that, on the one hand, the filmmaker’s first-person interactive techniques helped to reveal the repeated ideological, behavioral and emotional patterns rooted in the historical traumas of Hungarian ethnic minority groups in Romania; on the other hand, these techniques prove to be controversial due to the director’s constant shifting between positions outside and inside her own family and her refusal to take the responsibility that the inside position would involve.

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Satisfaction or Hard Labor? Portrait of a Ballet School in 52 Percent by Rafał Skalski

Author(s): Anna Śliwińska / Language(s): English Issue: 24/2014

How is ballet presented in documentaries? Is Central European cinema different from cinema in the West in this respect? 52 Percent, Rafał Skalski’s documentary about Alla, a girl dreaming of becoming a ballerina, provides an intriguing answer to this question. Th is article compares 52 Percent by Rafał Skalski with two documentaries made in the West (First Position and Only When I Dance), which also show the endeavors of young people who want to fulfill their dreams of becoming ballet dancers. Alla tries to enroll in the famous Russian Agrippina Vaganova Academy of Russian Ballet in Sankt Petersburg. Th e exams are really tough, and she must do additional exercises to lengthen her legs (she lacks 0.4% to achieve the perfect leg-upper body ratio). The girl cannot make her legs longer, although she tries hard. Her days filled with exercise are filmed in long, static shots. There is no joy or enthusiasm. Sweat and tiredness are a part of strenuous exercise. Alla does not spin on a roof, nor does she jump rhythmically while cooking, like the characters of First Position and Only When I Dance. There is nothing from a fairy tale or Hollywood in her experiences. Additionally, Skalski’s film breaks the myth of the dancer’s body being strong and inexhaustible. This is how we traditionally look at ballet, where there is no place for showing weakness.

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Türk-Arap Müziğinde Etkileşim ve Müşterek Unsurlar

Author(s): Arif Demir / Language(s): Turkish Issue: 86/2016

Although the historical and religious interaction between Turks and Arabs started with the XIII. Century, the beginning point of a musical interaction only goes back to the first quarter of the XVI century. Therefore, Turkish Music which has acquired many musical elements from Central Asia, Anatolia, İran and Middle East and Arabic Music has been interacting nearly for the last four centuries. Arabic and Turkish Music systems have substantial parallelisms especially in the senses of melodies, makam and usûl structures. In spite of the various differences in the pre-Islamic musical traditions of the two societies, they have many similarities in the post-Islamic period. Especially the forms and themes that have been used in Cami Music can be considered as common. In this study; a brief history of Turkish-Arabic Music will be discussed including the stylistic periods, the instants of critical changes and the interaction between the other musical cultures. Besides, the common forms, themes, instruments and makam-usûl structures in Turkish-Arabic Music will be concentrated.

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Karnavalesk Bağlaminda “Müzika Retorika”

Author(s): Aykut B. Çerezcioğlu / Language(s): Turkish Issue: 81/2015

Concepts that were propounded by the Russian contemplator Mikhael Bakhtin based on his literature reviews, such as dialogue, dialogy and carnivalesque are also used in studies on popular culture. According to Bakhthin, at the carnival, a public culture which is positioned as an opposition to the official culture, carries the laughter, the collective life rhythms of the nature and the resistance and functions of the body to language and literature. Carnival square is a public conscience which reveals itself as a ridicule to every kind of official position and seriousness, overturning all hierarchies, celebration of all kinds of violations of conduct codes by profanity, insults and vulgarity, and all extremes of physical appetite. Bakhtin explains that all “semi serious-semi humorous genres” are associated with carnivalesque folklore. All of them are loaded with a sense of carnival which is more or less specific to the world. “Semi serious-semi humorous genres” are associated with carnivalesque folklore. All of them are loaded with a sense of carnival which is more or less specific to the world and some of them are direct literary variations of direct verbal carnivalesque-folk genres. The rhetorical elements are found in all half serious - half humorous genres and has a heterophonic nature; a multi pitched narration and intertwined genres and styles are frequently seen. Musician Karahan Kadırman, in his performances entitled “Muzika-Retorika”, uses a style which he establishes a dialogue with the audience. Kadırman defines Müzika-Retorika as a genre in which individuals discuss “similarities and differences, the society that freezes these similarities and differences, politics which legalize and sometimes shatter these similarities and differences, the psychology and the ethics that fluctuate within these similarities and differences” and the musician performs with multi instruments on the “field” sounds that were recorded during these discussions. According to Kadırman, “to form a multi-genred association as a protest against popular and customary within the urban music culture, by means of ortaoyunu (a eulogy show in ottoman culture and entertainment life), cabarets, musicals, performance arts, minstrel traditions and other art disciplines, encouraging to speak on what cannot be spoken and criticizing the authoritarian structure is important”. The aim of this study is to analyze Musical Rhetoric within the contexts of Carnival and dialogue.

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