Duh iz mašine: Pop muzika i tehnologija

Author(s): Dejan Sretenović / Language(s): Serbian Issue: 62.8/2001

Nakon pojave kompilacije pod nazivom "Techno! The New Dance Sound of Detroit" (Virgin, 1988) kojom je detroitski zvuk (koji se do tada smatrao podžanrom čikaškog housea i nije imao specifičan naziv) doživeo svoju globalnu promociju, prefiks techno počeo je naširoko da oblikuje neologizme korišćene za generalno imenovanje kulturnih formi i umetničkih praksi zasnovanih na digitalnoj tehnologiji (npr. tehno-kultura, tehno-umetnost, tehno-estetika). Stoga je pojava techno-muzike imala dalekosežniji kulturni značaj nego što je isključivo muzička inovacija: ona je predstavljala prvi vidljiv simptom tehnološki orijentisanih kulturnih rekonfiguracija i kao takva je u kolektivnoj svesti doživljavana kao popularni agens ekspanzivne mašinizacije kulture. [...]

Nacionalizam u azijskom filmu „Palidrvce“

Author(s): Miroljub Stojanović / Language(s): Serbian Issue: 60.6/2000

Uspon azijskog filma, tako vehementno započet delima indijskog "novog talasa” sredinom sedamdesetih godina i danas, premda ekspanzija još traje, pokreće veliki broj pitanja na koja iz razumljivih ili nerazumljivih razloga odgovori nisu dati. Sagledati fenomen u svoj njegovoj kompleksnosti uvek znači premalo ili premnogo u odnosu na posmatranu pojavu, dok sama ta pojava redovno izmiče definitivnosti pogleda. [...]

Kinematografija, nacionalno i kulturni diskurs u Šri Lanki

Author(s): Wimal Dissanayake / Language(s): Serbian Issue: 60.6/2000

Tri glavna jezika koji se govore u Sri Lanki su sinhalski, tamilski i engleski. Mada je nekoliko filmova snimljeno na tamilskom (Ponmani, Vaadai Kaattu) ili engleskom (Rampage), teško da u Šri Lanki postoji bilo kakva iole ozbiljna filmska industrija na tamilskom ili engleskom o kojoj bi se moglo raspravljati. Stoga ću se ja u ovom poglavlju usredsrediti samo na kinematografiju na jeziku naroda Sinhalezi.

Brother from another mother. Hip-hop scena i pojam zavičaja u Nemačkoj

Author(s): Ursula Kolert / Language(s): Serbian Issue: 55.1/1999

Kod nas u Nemačkoj pojam zavičaja ima nesumnjivo nacionalističku konotaciju, pa već i zbog toga on ne postoji kao "zaokružena prošlost". Zavičaj ima ne tako malu ulogu i u tzv. subkulturi hip-hop-scene nemačkog govornog područja, ali u potpuno drugačijem semantičkom sklopu. Hip-hop postoji u Nemačkoj oko deset godina, a u međuvremenu su se razne grupe ovog pravca pojavile i na top-listama. [...]

JAKUBOVSKÁ, Viera – ZIMANOVÁ, Lucia: Filozoficko-estetické reflexie profánneho a sakrálneho. Nitra: Univerzita Konštantína Filozofa v Nitre 2013. 110 s.

Author(s): Jana Migašová / Language(s): Slovak Issue: 21-22/2015

Ciało jako nowe medium społeczne w performatyce litewskiej: jak dyskurs wchodzi w materię?

Author(s): Basia Nikiforova,Kęstutis Šapoka / Language(s): English Issue: 22/2017

This article deals with the concept of new materialism and examines the issue of how new materialism tackles visual art in innovative ways – though the intersections of artistic practice, art-as-research, and philosophical analysis. Selected artworks by S & P Stanikas and Evaldas Jansas are analyzed in this paper as body reconceptualization in Lithuanian art, employing the approach of new materialism. We will explore the geopolitical and ideological background, in which Lithuanian and Polish visual artists grapple with cultural binaries from the 1960s to the 1990s: male-female gendered bodies, traditional or contemporary art, and the artist as free individual or the one tied to ideology. Employing Rossi Braidotti’s term “affirmative”, this article poses a question whether it is possible to argue on the analyzed cases that “affirmative politics combines critique with creativity in the pursuit of alternative visions and projects”.

Открытие Академии Сан Фернандо (1752) и ее роль в развитии испанской художественной культуры XVIII–XIX веков

Author(s): Anna Valentinovna Morozova / Language(s): Russian Issue: 25/2016

The History of Spanish Art in the West European and in Russian Literature on History of Art wasn’t investigated equivalently for all periods. The Art of the 17th Century, the period of Renaissance, painting of Goya were in the center of attention of scientists and were studied more attentively. But beside the most bright events and the biggest names in the History of Spanish Art there are many interesting pages. Understanding of Culture as the complex Structure gives us the right to study the periods without bright famous persons and famous events. One of these periods is the second half of the 18th century, that was investigated in our country only in the aspect of works by Goya. But these period was the time when the Academy of Arts of Saint Fernando was created, what became the example for Russian Academy of Arts. The author of Article analyzes the Work of Academy of Saint Fernando and its influence on the world view of Spanish Artistic elite. The Academy was opened as the State Organization and worked at the base of the State subsidies. The Academy was the public Organization, it was opened for all who wanted to be the painters. All events organized by Academy were public. With the creation of Academy the Artistic Education in Spain was put at Scientific base. The creation of Academy was the act of syncretism and unity of Art and Science. At the beginning this unity worked for the aims of Classicism and increasing of attention to the Art of Antiquity, but the Scientific method was more great than the style, that created this method, and stimulated the Scientific and Artistic Studying of styles of other periods, that helped to the Spanish Art to understand the national Specific of the National Artistic School.

Уильям Моррис в XXI веке

Author(s): Anna Valerievna Matyukhina / Language(s): Russian Issue: 25/2016

The article deals with William Morris – one of the most prominent personalities of the 19th century whose work not only influenced his contemporaries but keep on inspiring new generations of writers, artists, researchers, etc. The versatility of talent and range of interests and activities in which this talent manifested itself is a pledge of Morris’ relevance today. Eg., his works and ideas are the source of inspiration for several projects by modern British painters (Adam Hogarth «Language cannot be dead», Bob and Roberta Smith «Art is Your Human Right», David Mabb «Announcer»). William Morris is well known to Russian scientists and designers but almost unknown to general public. However several events took place recently that made Morris «closer» to Russians (exhibitions «Pre-Raphaelites: Victorian Avant-Garde» and «British Design: from William Morris to the digital Revolution» in the Pushkin State Museum of Fine Arts, Moscow and The International festival of landscape design «Imperial Gardens of Russia» with the winner-project «The Garden of William Morris» by Spets Park Design, three prose-romances by William Morris published in Russian translation for the first time).

"Vidi coelum novum et terram novam". Treści ideowe i geneza form Kaplicy Matki Boskiej Karmelitańskiej we Frydmanie

Author(s): Maria Kazimiera Staniszewska / Language(s): Polish Issue: 17/2017

The paper deals with the chapel located by the parish church in Frydmanin the Spiš (Scepusium) region, founded by the local parish priest Michał Lorencs in 1764.The interior of the octagonal building, is fitted with a homogeneous set of furnishingsconsisting of a centrally located two-sided retable surmounted by a unique shrine inthe form of a glazed star, and numerous wooden sculptures decorating niches in the walls.The chapel used to be a pilgrimage site and became the founder’s resting place. The paperdiscusses the history of the chapel, the religious and political context of its foundation aswell as problems explored in earlier studies, both popular and scholarly ones, with specialattention devoted to the article by Jan Białostocki and Adam Miłobędzki, from 1957, thathas served as a crucial point of reference in the existing interpretations of the chapel.Further, the article attempts to elucidate the still unresolved problem of the origins of thechapel’s plan and forms of its retable, pointing to the traits they share with the sacred architectureof pilgrimage sites, particularly shrines. The Chapel of the Holy Shroud in Turin hasbeen suggested as the closest counterpart for the Frydman chapel as far as its architecturalplan, the retable type and the way of displaying relics are concerned. The soft, flowing linesof the a-tectonic forms of the retable, in turn, seem to resemble South-German small-scalearchitectural church furnishings from the mid-eighteenth century.As far as the message carried by the decoration of Our Lady of Mount Carmel Chapel isconcerned, selected Old- and New Testament figures, depicted in the retable and wall niches,have been identified, and particular themes represented in the above decoration have beendetermined. The first, sepulchral, theme is manifested in the unmarked burial site of FatherLorencs, located ad sanctos, in the immediate proximity of the relics of catacomb saints.The next, Carmelite, theme is related to the Scapular Confraternity that had been associatedwith the chapel and church. The paper discusses also the Marian symbolism of the chapel,already explored to some extent in earlier literature, and its prominent Christological andEucharistic themes, which have hitherto not been adequately examined. In conclusion, OurLady of Mount Carmel Chapel is considered as a symbolic representation of the HeavenlyJerusalem and a powerful profession of faith in the intercession of saints and the Virgin Marybefore God.

Pochwała profanacji. „Trzecia droga” w kulturze polskiej lat 80.

Author(s): Marcin Kościelniak / Language(s): Polish Issue: 2/2017

This article deals with the significance and potential of the ‘Third Way’ in Polish culture in the first half of the 1980s. Kościelniak characterizes the work of artists associated with the Łódź-based group Kultura Zrzuty [Chip-In Culture], highlighting these artists’ critical position towards the national and Catholic tradition. He presents their works in the context of Polish society in the first half of the 1980s, and shows that national and Catholic themes were inextricably written into the Solidarity movement. Thus he proposes to look at the ‘third place’ occupied by Kultura Zrzuty as a political position and a fulcrum point to criticize Polish culture.

Jean Rouch – l’enfant terrible antropologii i filmu

Author(s): Sławomir Sikora / Language(s): Polish Issue: 1/2018

The field of anthropology continues to be dominated by an approach that focuses on the spoken or written word. The filmmaker and anthropologist Jean Rouch is one of the few who have worked comfortably with both film and the (spoken and written) word. Sikora presents Rouch’s method and working style mostly by looking closely at his key film, Moi, un Noir (1958). Rouch is presented as a pioneer not only of shared anthropology, but also of the method in which the creation of anthropological knowledge (film) becomes a tool supporting the process of constructing a (new) subjectivity and of transgressing the colonial relationship. Oumarou Ganda, the film’s protagonist, would become a groundbreaking African film director.

Niepublikowany wzornik architektoniczny z Carskiego Sioła (1857). Z problematyki neobizantyńskiej architektury cerkiewnej na ziemiach polskich pod zaborem rosyjskim

Author(s): Anita Kunikowska / Language(s): Polish Issue: 15/2015

The author describes twenty-two architectural projects prepared by Russian architects for the Polish lands which at that time were part of the Russian Empire.According to an inscription accompanying the designs, the set of architectural drawings was approved in Tsarskoye Selo on 14 November 1857. The treatment of these designs in the present article concentrates on the original features of Russian Orthodox architecture visible in them.The author discusses the drawings in relation to the architecture of Orthodox churches in the gubernyia (governorate) of Piotrków, created by the Russian authorities in 1867 asa result of an administrative division. The style of these churches was Byzantine Revival, which, broadly speaking, did not develop any more after Poland had regained independence in 1918. The author has analysed two buildings: St Alexander Nevskys OrthodoxChurch in Łódź (1880-1884; designed by the well-known architect Hilary Majewski) and the Orthodox Church of Vera, Nadezhda and Lyubov (Faith, Hope and Charity) in Sosnowiec(1888-1889, whose construction was overseen by the architect Prokofiev from Piotrków Trybunalski). Both churches are formally related to the architectural projects presented above, as is testified by their octagonal naves and other features (e.g. oniondomes), typical of imitations of the Byzantine style in Russia or Russian vernacular revival architecture. #Niepublikowany

Hanna Osiecka-Samsonowicz, "Polskie uroczystości w barokowym Rzymie 1587-1693", Instytut Sztuki PAN, Warszawa 2012, ss. 420, il. 50, tab. 18

Author(s): Tadeusz J. Żuchowski / Language(s): Polish Issue: 15/2015

Arhitektuuri ja kujutava kunsti ajakirjanduslik retseptsioon võrdluses. Kultuuriajakirjanduse kvalitatiivne sisuanalüüs

Author(s): Johannes Saar / Language(s): Estonian Issue: 03+04/2016

Käesolev artikkel uurib arhitektuuri ja kujutava kunsti retseptsiooni Eesti kultuuriajakirjanduses. Eesmärgiks on tuvastada püsivamaid representatsioonipoliitikaid nimetatud valdkondade meediakuvandites ning analüüsida, kuidas toimub tänapäeva Eesti kultuuriajakirjanduses tururatsionalismi väärtuste propageerimine ja taastootmine. Kokkuvõttes esitatakse kvalitatiivsete tähelepanekute põhjal üldistus kultuuriajakirjanduse rollist arhitektuuri ja kujutava kunsti kuvandite sobitamisel loometööstuste ideoloogiaga.

Comparative Reception Study of Architecture and Visual Arts in Estonian Cultural Journalism. Quantitative and Qualitative Analysis

Author(s): Johannes Saar / Language(s): English Issue: 03+04/2016

The article presents a comparative study of the receptions of architecture and visual arts in Estonian cultural journalism. The aim of the study is to examine market resilient media representation policies of architecture and visual arts, with the premise that this will also reveal how market rationalist values are implied and reproduced in public cultural parlance as the commonsensical background for everyone’s own value judgements. Based on a qualitative survey, the commensurability of the studied media receptions with the creative industries doctrine is considered in the final discussion of the article.

’Playing Handy-Dandy’: Early Hungarian Translations of King Lear

Author(s): Zsuzsanna Kiss / Language(s): English Issue: 3/2018

The paper offers a few insights into the textual and dramaturgical challenges of Hungarian King Lear playtexts, from the earliest ones till 1922. Since the last decade of the 18th century, when the first full adaptation with the so-called Viennese ending was penned, King Lear has constantly been an ‘object of desire’ in Hungarian theatre, literature and culture. Competing with Hamlet and The Taming of the Shrew in terms of popularity, King Lear quickly became a stock-piece. The task of appropriating King Lear attracted the attention of the best actors, authors and translators. Many Hungarian adaptations of King Lear promoted the professional development of Hungarian acting companies and theatres, of translation itself, and of national dramaturgy. Shakespeare’s darkest tragedy filled a vacuum not only on the stages, but also in Hungarian social life, proving to be the perfectly appropriated, updated, and, to some extent, even politically tolerated representation of crisis. From the first stage adaptations, King Lear’s numerous translations into Hungarian have conveyed a compelling sense of ‘double bound’ between page and stage, text and interpretation, translation and performance. This paper investigates how context and congruity validated certain texts and performances of Hungarian King Lears, and how some texts and performances, having illumined one another, expressed what both actors and audience felt, and thus genuinely filled the void between personal and public spheres.

I’d like to mee tyou in a timeless, placeless place. Kobiecość i przestrzeń oczami Luce Irigary i Suzane Vegi

Author(s): Klaudia Rachubińska / Language(s): Polish Issue: 03/2017

The article views American singer-songwriter Suzanne Vega's album Solitude Standing (1987) through the lens of the writings of a French psychoanalyst and feminist scholar Luce Irigaray. Vega's captivating stories of lonesome heroines stranded in monotonous and alienating urban landscapes resonate with Irigaray's concept of femininity as place. The questions of placement and placelessness that permeate the album make for an interesting context in which Irigaray's 'ethics of sexual difference' can be explored in relation to both the feminine experience and artistic practice.

Laughter and Forgetting. Moritz Csáky: Ideologie der Operette und Wiener Moderne: Ein kulturhistorisches Essay zur österreichischen Identität

Author(s): Nicholas T. Parsons / Language(s): English Issue: 04/1996

James Joyce once remarked that the soul of a culture is to be found in its music halls; by the same token, the gospels of Postmodernism preach that popular entertainment is as worthy of academic study as any other cultural phenomenon, a laudably democratic stance that neatly side-steps the thorny question of aesthetic value by subsuming it in sociology or history.

Culture, Economy and Work in 2000s–2010s Estonia

Author(s): Rene Mäe / Language(s): English Issue: 01+02/2015

The primary aim of this article is to consider the emerging representations of ‘cultural’ and ‘artistic’ work in 2000s–2010s Estonia. The paper draws on textual materials, such as Estonian creative industries mapping documents, promotional texts and special sections on the creative industries in daily and weekly newspapers. The paper starts by offering a sociologically informed framework wherein the problem of cultural and artistic labour emerges. Borrowing its theoretical and methodological framework from the discourse theory of Ernesto Laclau, the article then more specifically looks at the ways in which creative and cultural workers are constructed in the Estonian creative industries discourse.

Kultuur, majandus ja töö 2000.–2010. aastate Eestis

Author(s): Rene Mäe / Language(s): Estonian Issue: 01+02/2015

Loomemajandusalastele materjalidele toetudes vaatleb artikkel kultuuri- ja loovtöö representatsioone 2000.–2010. aastate Eestis. Artikkel joonistab välja laiema ajaloolise ja teoreetilise ruumi, milles osutub oluliseks kultuuritootmise ning kultuurilise ja kunstilise töö probleem. Selle tarvis peatub artikkel põgusalt mõjukatel kultuuri- ja kunstisotsioloogilistel lähenemistel ning viimastel aastatel rohkem kanda kinnitanud „kultuurilise töö” alasel uurimistööl. Seejärel avab artikkel Ernesto Laclau diskursuseteooria põhiseisukohad ning vaatleb nende valguses kaht kultuuritöötaja konstrueerimise viisi – loomeinimest ning kunstitöötajat.