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Simbolizam u delu Gabrijela fon Maksa

Author(s): Dušica Nikolić / Language(s): Serbian Issue: 1/2015

Symbolism as the direction of the 19th century in painting, as in other types of art expresses as well as a state of mind and the mind. Consequently, it is used unreal motifs, performances and metaphors to demonstrate the likelihood of another reality that is happening around us. The essence of symbolism is that one idea never directly express, but that by means of symbols and secret clues reach a final message. So here Gabriel von Max through the different views tried to draw attention to a problem of contemporary society.

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Da li je Budva zaboravila svoju antičku prošlost?

Author(s): Katarina Jović / Language(s): Serbian Issue: 2/2015

Budva represents one of the oldest settlements on the Adriatic coast. It was governed by various nations; the largest number of material traces was left by Illyrians, Romans, and Greeks. The interest for the heritage of the above mentioned civilizations has never been particularly noteworthy – the statues from the period were discovered by accident in the middle of the previous century, the artifacts have never been thoroughly explored, the majority of objects was either destroyed or stolen due to careless and unprofessional excavations or even donated to museums in Belgrade, Split, Zagreb, and Cetinje. Nowadays, Budva treasures only a small part of its history, which still does not attract the attention of the local people due to the fact the objects lack an adequate presentation. The most important treasury from this period is an antique necropolis situated near the city walls of the Old Town. The necropolis contained various lavishly decorated jewelry, tools, and weapons from the Hellenistic and the Roman periods. Today, we can see numerous antique mosaics and the foundations of the Old Town walls, the so called “Budva Acropolis”, which is the present day citadel. The preserved artifacts are kept in the City Museum of Budva. However, they are not worthily represented – the local people do not possess enough knowledge about the antique period of their history.

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« Je suis la Porte » : Ostium, la Tête, le Corps et la Porte de la justice. L’interprétation théologique de la présentation du Christ posé au-dessus du portail (I)

Author(s): Jasmina Ćirić / Language(s): French Issue: 4/2016

The meaning of the portal and lunette above in Late Byzantine sacred architecture has never been regarded in historiography of Byzantine art through the theory of signs. The role of the portal is to mark one space unity as a physical object and to emphasize the importance of the crossing. Portals are the signs of the transitional and the dialogic essence not only for the Biblical metaphor of Christ as the One who holds the walls together, but also for the metaphor: “I am the door. Whoever enters through me will be saved” (John 10, 9). Concealed (and thus revealed) in a lunette, the formless divinity is translated in the womb of the Virgin, who has rendered it dissembling from its very self, engendering a form for the formless through the folds of a garment, a veil of flesh, lapis angularis. Altogether, the conjunction of scripture, theology, iconography, and architecture created an appropriate symbol of portal for the translation of the Logos, who passed through the Virginal gates and entered the world of matter. Weaving a cultic veil for the Temple, the Virgin was poised, not simply on the visible entrance but on the threshold of Wisdom.

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Manhattan Woody’ego Allena. Poetyka introdukcji

Author(s): Marek Hendrykowski / Language(s): Polish Issue: 21/2013

Marek Hendrykowski’s innovative study on the four-minute opening sequence to Manhattan analyses one of the most beautiful introductions in the history of world cinema. Its subtle simultaneous construction based on European and American traditions and key canonical texts of 20th-century art: Walther Ruttmann’s Berlin: Symphony of the City, John Dos Passos’s Manhattan Transfer and George Gershwin’s Blue Rapsody. A semiotic apparatus has been included, along with deep explanatory commentaries and close-readings that identify step-by-step the details of its content, contradictory fiction-nonfiction relationships, and the roles of visual image, word and music, narrative, personal point of view, and stream of consciousness technique in the film. The suggestive film overture to Manhattan composed by Woody Allen represents continuities as well as disruptions, sustained between avant-garde artistic tradition and film art of the 1970s.

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Sztuka w Naturze – Natura w Sztuce – projekt integracji międzyprzedmiotowej w edukacji początkowej

Author(s): Justyna Truskolaska,Nasturcja Toruj,Magdalena Łuka / Language(s): Polish Issue: 19/2016

In this paper we present the results of a pedagogical experiment on the integration between natural and artistic education in primary school. Integration between environmental and art education was performed by the program “Art in Nature – Nature in Art”. The research was conducted in the period from October to February 2014. The studies involved 4 groups: two groups of pupils in 1st and 2nd classes of primary school and two groups of students of pedagogy – the future teachers of primary classes. It turned out that implemented program is suitable for widening the environmental knowledge of pupils through artistic activities. Students’ knowledge about natural environment and the interdisciplinary integration was expanded too, as a result of participation in the program “Art in Nature – Nature in Art”.

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Zapach śmierci, epilepsja i portret papieża ("Tatarak" Andrzeja Wajdy i "Bracia Karamazow" Petra Zelenki)

Author(s): Wojciech Otto / Language(s): Polish Issue: 13-14/2009

Andrzej Wajda’a Sweet Rush (Tatarak) and Petr Zelenka’s The Karamazovs (Karamazovi) are film adaptations of literature. Both directors represent very innovative approach to the literary material. Wajda wanted to depict the theme of death and passing in original way and combined various literary sources: Jarosław Iwaszkiewicz’s short story Sweet Rush, a novelette by Sándor Márai, and Last Notes by Polish actress, Krystyna Janda. Her text is a form of reflection on the death of her husband who was a recognized cinematographer. Wajda also incorporated into the picture scenes revealing the film’s making off. Petr Zelenka’s screen adaptation of the famous novel by Fiodor Dostoievsky is based on the film record of the Prague theater presentation (also based on The Karamazovs) made in the industrial space of the Sendzimir Ironworks in Poland. The recorded spectacle became the opportunity for the director to present his artistic statement on the history and culture of the Middle and East Europe and the artist’s status nowadays.

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O adaptacji filmowej opowiadania Zofii Nałkowskiej "Przy torze kolejowym"

Author(s): Mikołaj Jazdon / Language(s): Polish Issue: 13-14/2009

Andrzej Brzozowski directed a live action short subject based on Zofia Nałkowska’s short story Aside of the Railway in 1963. The film was banned by the communist authorities and presented for the first time as late as in 1992. This is a story of runaway Jewish woman who jumped out of a train aiming at a concentration camp somewhere in Poland occupied by he Nazis. With a heavily wounded knee she lies aside of the railway looking at Polish countrymen who gathered near her and see no chance to help her as they fear of the Nazis. When she ask them not to carry her to Germans’ one of the onlookers shots her on the spot. Brzozowski made numerous modifications to present the tragic situation from the short story in film. One of them is the change of the point of view. In film it is the POV of the wounded woman, when in the short story it is presented by a witness who told the writer about the events only after the war. Brzozowski also changed the time of events from spring in the story to snowy winter in the film and focused on two main characters – the Jewish woman and the man who seemed most determined to help her and shot her in the end.

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ДІЯЛЬНІСТЬ ПАРКІВ-ПАМ'ЯТОК САДОВО-ПАРКОВОГО МИСТЕЦТВА У СИСТЕМІ ЗАБЕЗПЕЧЕННЯ КУЛЬТУРНИХ ПОТРЕБ ЛЮДИНИ

Author(s): Olena Diuzhnyk / Language(s): Ukrainian Issue: 1/2017

Purpose of Article. In the article, the activities of parks-monuments of the landscape art are studied in the system of cultural needs of people. The content of the basic concepts is revealed. The means of fulfilling of different cultural needs, namely cultural human and civil rights, their security and performance are analysed. Methodology. The analytical, systematic, terminological, cultural methods are used. Scientific Novelty. The scientific novelty of the research is presented by the complex study of the concept of cultural needs. Conclusions. As a result of the research it is found that there is a large number of regulations that govern cultural activities and ensure the rights of citizens at both state and international level. Cultural needs are one of the key elements of the social life, which determines the development of a society and a man. Realizing their needs, people create their own objective worlds, public relations and themselves.

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Popüler Müzik Ve Gündelik Yaşam Deneyimi

Author(s): Aykut B. Çerezcioğlu / Language(s): Turkish Issue: 75/2013

During the 1970’s and 1980’s, popular music studies was largely concentrated around issues of production, performance and text. Although some research on audiences did exist, this was largely carried out by theorists associated with subcultural theory or youth cultural studies, that were more broadly defined. However, in the 1990’s, with using the personal stereos like walkman, discman, MP3 players and iPod, music, use of popular music examples and functions of music in everday life topics arouse attention and the related literature begins to shape. Technological innovations such as the iPod and the Internet mean it is arguable that music is currently more readily available in a range ofcon- texts than ever before;and this accessibility means that people may well actively use music in a range oflistening contexts. People might consciously and actively use music at different times,in different situations,with different people,and for different purposes,with these different listening contexts resulting in different musical experiences that are valued differently by each listener. With using the personal stereos, music begin to lose its indoor listening structure, where only listened in houses and other indoor places including cars by using nonmovable equipment such as pickups and stereos. By this way, music gains a new way of use where people carry it with themselves, choose what to listen according to their state of mind and location and make it a part of their whole everyday life experience. The aim of this study, with overviewing the literature on music in everyday life, is to discuss, how individuals change their everyday life experience with the use of personal stereos, how they use music as a tool for avoiding everyday life “routine”, shape their memory and perception by using music, use popular music during their self identification period, and how they make the connection between popular music and lifestyle as a part of their everday life experience, and make an introduction to “place of music making practice in everday life” discourse, which is missing in literature.

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Martin Crimp ve Postdramatik Tiyatro: Mutluluk Cumhuriyetinde

Author(s): Dilek İnan / Language(s): Turkish Issue: 74/2013

New forms of artistic representations have been mastered with the development of new technologies. Various innovative methods of staging have flourished with the deconstruction of traditional forms. Contemporary British playwright Martin Crimp employs creative and experimental ways of using stage language and theatre techniques in order to explore theatre’s connection with such application fields as culture, politics and philosophy. Crimp deconstructs traditional/naturalist/realist playwriting rules by investigating new forms of representing character, plot, time and place on stage. With his playtexts he controls the audiences’ minds and provides them with the opportunity to explore new possibilities in their lives. His plays have a challenging and a complicated structure due to his way of combining the experimental, modern and postmodern traditions. Crimp defines himself as a satirist, and believes that satire is a driving force in him as a writer. He depicts many of the middle-class preoccupations, and habits of speech and mind, criticizes their attitudes to life and emphasizes the shallowness and moral hypocrisy of defences of bourgeois privilege. His recent play In the Republic of Happiness is evidently about the human desire for happiness, and the impossibility or absurdity of this quest. This paper discovers Crimp’s use of space, time, language and body aesthetics in innovative ways in his 2012 play, In the Republic of Happiness.

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Müzik Medyasinda Ankaralilar

Author(s): Ayten Kaplan / Language(s): Turkish Issue: 67/2011

Industrialization in conjunction with, especially since the 20th century, the commodification of social life, also reflected in the field of arts, appropriate music to people and environments are presented. Cultural industry uses a system that economic, managerial and technological are intertwined. It determines “Icon”s with the support of the mass media and rushes up desire resemble to them. In this context, the “Ankara Style Music” has found its place in the world of music. In this article will be discussed the actions and reactions of this music in the social structure.

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Contribuţia tehnicilor teatrale la obţinerea echilibrului emoţional al copiilor

Author(s): Georgeta Antoniu / Language(s): Romanian Issue: 2/2015

The article describes and analyzes the change that must occur in children’s education in the XXI century, the importance of children’s emotional balance through theatre techniques and the improved use of EQ. Removing violence from children’s lives, removing multiple fears and false competition, their self-esteem increases a lot. Theater games and puppetry exercises are a great way to emotionally balance the children.

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THE AESTHETICS OF LOGO OR WHY COMIC SANS IS NOT TO BLAME

Author(s): Katarína Šantová / Language(s): English Issue: 1/2/2016

The article deals with the relationship between the aesthetics of typography and the aesthetics of logo or logotype. The author claims to answer how much can the typeface influence the success of the brand in the market. The text is supported by the idea of artificial world of digital environment that was inspired by the thesis of Wolfgang Welsch. The author of the article justifies the role of graphic purification and visual coherence that should become the part of our physical and virtual world.

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Popüler Kültür Ve Sanat

Author(s): Erdal Cengiz / Language(s): Turkish Issue: 64/2010

This study deals with the articulation of popular culture or mass culture to the experience of consumption and how this experience generates the art. In this era, culture becomes a commodity in the course of industrial production, and art which is one of the main components of culture turns into kitsch art. In this cultural trend, human beings who submit themselves to uniform existence desire same commodity, and art is unearthed from its place.

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“Dünya Müziği”nde Son Yirmi Yıla İlişkin Değerlendirmeler: Hollanda Örneği

Author(s): Uğur Alpagut / Language(s): Turkish Issue: 62/2010

Besides “World Music” is a music genre, it is also a definition which is frequently used in the related literature especially in the latest twenty years and assessed within the scope of multicultural music education by music educators. In providing a common ground for a globalized perception in music education, the definition of “World Music” and the related educational programs were also changed into a strategy regarding music education thanks to the facilities of popular culture. The aims of the present article are to assess some studies on the related educational strategies which progress in parallel with postmodern trends in Netherlands and in the light of these assessments, to perform some determinations related to the negative aspects that reflect or can reflect on our music culture.

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Türkiye’de Küresel Medya Ve Rock Müzik Kültürü İle Kurulan Küresel Kültürel Ortamlar

Author(s): Hürriyet Konyar / Language(s): Turkish Issue: 61/2010

Türkiye’de kültürel alanda ortaya çıkan değişimler, Küresel arenada ortaya çıkan değişimler içinde ele alınması gereken bir durumdadır. Türkiye’deki kültürel özellikler, bir yandan hâkim kültürel yapı doğrultusunda yeni bağlamsallıklar kazanıp diğer yandan da yeni direnç özellikleri geliştirirken, küresel medya bu yeni bağlamsallıkların kurulmasında önemli rol oynar. Küresel medyanın popüler içeriğinin biçimlenmesinde pop müzik temel iletkenlerden biri olarak işlev görürken Türkiye’de de rock müzik kültürü üzerinden bu değişimleri takip etmek mümkündür.

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WARTOŚĆ SZTUKI BRYTYJSKIEJ W OCENACH POLSKICH PUBLICYSTÓW WIEKU XIX (DO 1914 R.) NA PRZYKŁADZIE ZAWARTOŚCI WYBRANYCH CZASOPISM

Author(s): Marta Łukowska / Language(s): Polish Issue: 5/2016

Polish press of the 19th century analyzed many aspects of British culture, art included. In the opinion of Polish critics, British art was, first of all, inferior to French art and, what is more, to other achievements of Great Britain as a country. It was criticized for aesthetic worthlessness and presented as utilitarian for British culture. However, with time, thanks to more in-depth analysis of selected strands of British art (e.g., Aestheticism, Pre-Raphaelites), the Polish approach towards it improved and British art was used not only to demonstrate its close ties with Polish art, but also to justify the protection of Poland in the process of devel- opment as an independent country.

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Transnational Viewers of Turkish Television Drama Series

Author(s): Deniz Özalpman / Language(s): English Issue: 1/2017

Since the mid-2000s, Turkish television drama series have been exported to many countries and attracted an unprecedented transnational audience. However, despite popularity, there is paucity of research focusing on the transnational understanding(s) of Turkish television drama audiences in different geographies. Through a reception analysis of three mostly cited television series among participants Muhteşem Yüzyıl (Magnificent Century), Aşk-ı Memnu (Forbidden Love), Kuzey Güney (North South), this study aimed at offering an understanding beyond overly stated cultural/religious proximity explanations to ascertain traces and elements of empowerment that citizens feel coming through their act of consuming Turkish dramas. For that purpose, in-depth interviews were conducted with Iranian viewers of Turkish television series living in the Austrian capital Vienna. Interpretation of that collected qualitative material suggests re-thinking of the transnational audience’s consumption practices that expand tourism and trade flows and other related businesses between the two countries.

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Kontekst kulture: Simbolički karakter umetničke komunikacije

Author(s): Nikola Božilović / Language(s): Serbian Issue: 16/2010

The author of this paper considers artistic communication as a social act, as well as an element of symbolic culture. Culture is the connective tissue and context of artistic communication because it determines the rules of communication and imposes the codes of meaning. That is why it is insisted upon the cooperation between aestheticians of communication, semiologists of aesthetics, and sociologists of culture. Artistic messages are made of signs. Their appreciation depends on the cultural level of the audience as an actor in communication. By the by, aesthetic communication is a social event and it is connected to the concept of symbolic culture as communication. Artistic messages are symbols emitted by a work of art. They are, by rule, open in the sense that Umberto Eco pointed to. Namely, in the act of communication, recipients have an active role, whereupon they introduce their own meanings into the message contents. Some authors, like John Fiske, ascribe an almost utter autonomy to the audience in the creation of meaning. Therefore, art is not replicated reality: it contains a large number of symbols, which, depending on the culture of the communicator, provoke countless different associations. Instead of the conclusion, the author deals with the issues of aesthetic communication in the era of globalization of culture and introduction of new technologies, when authentic art is replaces by such notions as creative industry and media practice.

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The Spectacle of Urban Consumption: The Role of Urban Art in the Reconfiguration of the Public Sphere

Author(s): Anna Notaro / Language(s): English Issue: 14/2010

The paper examines the spectacle of contemporary forms of advertising and product placements techniques in the context of urban environments (including the phenomenon of the so called ‘brand city’).This is an ‘over-exposed city’, to use Virilio’s terminology, a city penetrated by media and advertising, a topical manifestation of what Guy Debord called the ‘Society of the Spectacle’. The paper juxtaposes to the above well rehearsed critical scenarios an examination of several urban art projects that attempt to design an image of the city as a locus of convergence, creativity and citizenship. There is a powerful visual language at work in the contemporary city, one that operates beyond the phantasmagoria of consumption. Inspired by the Situationists’ intent to stimulate permanent social dynamics in the city through playful interventions based on integration between art and technology, such projects show the ability of individuals and social groups to appropriate and co-create urban space. It remains to be seen, though whether such playful interventions bring about new viable conceptions of the public sphere or, conversely, whether their impact is similar, in its ineffectuality, to that of the Situationist precursors.

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