Художници номади – по света и у нас

Author(s): Nia Tabakova,Mila Stareyshinska-Angelova / Language(s): Bulgarian Issue: 15/2017

The exhibition So Close, So Far is an annual event representing the art of contemporary Bulgarian artists, who live and work abroad. By using examples of their works, which were displayed in the exhibition during a five-year time period, this article aims at highlighting the artistic oeuvre of a specific group of Bulgarian artists, who have chosen to develop their artistic careers beyond the borders of their home country. These are authors that by showing their works back in their homeland draw parallels between global and local and thus provide a platform for intercultural dialogue. In its essence the exhibition presents a panoramic view of the current artistic tendencies in the contemporary art world on a global scale as seen through the prism of the Bulgarian artistic Diaspora. The main themes that reappear in the exhibition – the multilayered notions of detachment and home – will be discussed in relation to the rising movement of the “global nomad“ as a product of the processes of globalization. Through detaching themselves from their local environment and subse¬quently returning to their home with a new and enriched personal and artistic perception of the world, these nomadic artists alter the established status quo, give reasons for the formation of new movements in contemporary Bulgarian art, and disturb the fixed norms of the local cultural identity. They take part in the creation of new artistic communities and spaces, serving as building blocks of our contemporary society.

Valori etnopedagogice ca modele de formare a culturii populare la elevi

Author(s): Lina Lutenco,Aurelia Buzenco / Language(s): Romanian Issue: 2/2013

The continuous development of the cultural, national thesaurus as well as the intercultural relation leads to the development of the human-being in the society and assures an eternal humanization and culturalization of the ethnical personality. The values of popular art and their influence over the cultural, spiritual and ethic-moral formation of the human-being in the society form the synthesis concept of the popular pedagogy. Popular pedagogy as a valuable model constitutes the foundation of human general culture formation.

Jak nie należy pisać prac naukowych i ich wartościować, czyli o nieudanej książce na temat sztuki nowożytnej na Lubelszczyźnie

Author(s): Marcin Fabiański / Language(s): Polish Issue: 14/2014

Umetnost i migrantsko iskustvo - „Gastarbajterska serija” Drage Trumbetaša

Author(s): Ana Banić Grubišić / Language(s): Serbian Issue: 3/2018

This paper explores Drago’s Trumbetaš collection of drawings called „Gastarbeiter Series” from an anthropological perspective. Dragutin Trumbetaš (1937–2018) was a croatian self-taught artist who spent major part of his life working various jobs as a guest worker in Germany. His Gastarbeiter drawings that are based on his personal experience as a migrant realistically depict the hardship and everyday practices of the first wave immigrants who came as temporary labor workers to Western Europe in the 60’s. His artworks could serve as an important material for researching the attitudes, values and experiences of migrants, and ultimately shed a light on their process of acculturation to a new cultural and social environment.

THE (IM)POSSIBLE REPRESENTATION OF NATIONAL HISTORY: NATIONAL IDENTITY, MEMORY AND TRAUMA IN MEMORIA VISUAL DE UNA NACIÓN BY MARIO TORAL

Author(s): Hernán Cuevas Valenzuela / Language(s): English Issue: 079/2015

This article presents an analysis of the mural titled Memoria Visual de una Nación (Visual Memory of a Nation) with a focus on its panel Los Conflictos (The Conflicts) , by renowned Chilean artist Mario Toral. The representation of divisive events in MVN raises the following questions: Why did Toral include conflictive issues in a mural representing national identity and memory? And, how did Toral deal with national identity and its demand for unity when faced with a divisive and traumatic history? The article deals first with the interconnectedness of meaning-making and social and political context and then addresses the tension between the realm of the political -or antagonism- and the realm of hegemonic politics -or order- in search of a deeper understanding of this work of art and its representation of Chilean history and identity.

Through communism to modernity – working Polish women, gender mainstreaming. Military and culture sector – bipolarity and women’s stereotypes of Labour Power

Author(s): Aleksandra Zamojska,Agata Stępień / Language(s): English Issue: 60/2018

The situation of Polish women and their rights including access to resources can have a satisfactory appearance. However, this is just a lonely, first impression. Women have to fight for status and opportunity improvement in the professional arena, which is definitely in need of strengthening and improvement. The study of women and their working area situation, based on examples from Poland assisting in the creation of the self-questioning, in a better understanding needs and lack of woman manifestation gaps. Which kind of implementation can balance the invisibility of women’s work. Considerations on the stereotype of women's participation in professional areas, traditionally dominated by men, show transformations. In art and military service, men are dominant, but nonetheless there is a visible transgression of the presence of power and movement towards female professionals. Gender mainstreaming has started to exist in many areas of professional life previously unavailable for women.

Nagość jako strategia promocyjna kina polskiego lat 80.

Author(s): Piotr Zwierzchowski / Language(s): Polish Issue: 32/2018

The article examines how nudity was used as a promotional strategy in the Polish cinema in the 1980s. In contrast to earlier decades, the Polish movie industry delivered dozens of films that contained female nudity and erotic scenes. Some actresses like Maria Probosz, became automatically associated with such movies. Paradoxically, the Polish cinema of the 1980s was only slightly concerned with the discourse of eroticism. As Maria Kornatowska writes,The shortage of erotic sensibility was compensated by ‘bald nakedness.’’ The reasons for the increased presence of nudity on movie screens stemmed from the transformation of social lifestyle and audiences’ demand, the search for easy profit and the need to de-politicize society. Of significant importance were the influences of the growing video market and western cinema. Projections of nudity were meant to divert attention from the bleak reality of Poland enmeshed in crisis provide a sense of belonging to the Western world, and give mostly male viewers visual pleasure. It was also a marketing technique luring viewers to cinemas by bombarding them with daring posters and stills reproduced in the press and in front of movie theaters. My article will discuss and explain the ways of presenting female nudity in terms of these economic and political tasks.

Rhetoric of the image of architecture

Author(s): Hanna Grzeszczuk-Brendel / Language(s): English Issue: 31/2017

Based on the example of one of the newsreels of the Polish Film Chronicle of 1965, we have researched the issue of the usability of rhetorical figures for the analysis of the image of architecture recorded in film and its relations with the verbal rhetoric of narration as well as the pictorial rhetoric, which makes up the message of a different nature. By this we have attempted to decode the lifestyle model presented in the film and propagated by its manner of description of architecture with the use of rhetorical figures and also to decode the role and meaning of the architectural forms, which were engaged in the creation of the message of the film image. Combining the rhetorical analysis with an interpretation of the architectural forms has enabled us to identify the persuasive nature of the message of the chronicle material included in the documentary film.

Aesthetics of 1950s and 1960s interiors presented in Polish comedy films from that period

Author(s): Joanna Wojciechowska-Kucięba / Language(s): English Issue: 31/2017

This article is an attempt at outlining key aesthetic standards of interior design of the 1950s and 1960s on the basis of examples exhibited in the Polish and foreign romantic comedies of that time. Some distinguishing features of 1960s Polish aesthetics were the characteristic abstract language, organic form, asymmetry, diagonal lines, arrangements based on “A” and “X” letter outlines and lively colours. Furniture design used new materials mostly plywood and plastics such as polyvinyl chloride and epoxy resins. The 1960s, called “small stabilization” by design historians, were slightly different. Shops offered a variety of new products designed by Polish creators – such as furniture, home appliances, tools and machines. New Polish industrial design of 1960s is represented by the RAMONA and EWA radios and the BAMBINO record player, whereas sectional furniture – especially SYSTEM MK designed by Bogusława and Czesław Kowalski, better known as “the Kowalskis’ furniture” – became the icon of the decade. Polish and foreign romantic comedies from 1950s and 1960s are an excellent iconographic source of information on how interior design changed in the second half of the 20th century, and specifically on how living space was organized and adapted for private and public purposes. In Poland, attempts were made to use all the “design innovations” coming from the west, however, the immutably closed Polish borders prevented them from spreading freely. We had to use local designers. In the 2nd half of the twentieth century, a period which Prof Irena Huml called “the invasion of modernity” started. The doctrine of socialist realism was rejected and the focus was on modernity. Innovation became the most desirable feature of a work of art, and modernity the most important concept.

View from the inside. The images of the city in the “black series” documentary films in Poland in the 1950s

Author(s): Andrzej Szpulak / Language(s): English Issue: 31/2017

The article analyses the particular interest that the documentary filmmakers of the late 1950s had in the architectural and urban issues. The reasons for this phenomenon are situated in several plans: they refer to the image of reconstruction from the war devastation and the reaction to its falsification in the period of socialist realism. They refer to the social interests of the filmmakers and to the strategy of metaphorising and allegorising the images of the city, which was handy in the times of censorship as it extended meanings and applied non-literality. The article analyses various film incarnations of this phenomenon.

Zelig jako docufiction

Author(s): Marek Hendrykowski / Language(s): Polish Issue: 30/2017

This close-reading analysis and interpretation examines the original form of Woody Allen’s masterpiece Zelig (1983). The author combines a film studies approach with an investigation of epistemological and semiotic reflections on moving images. The author emphasises that more than three decades ago Allen gave to a wide audience a critical, sceptical and ironic vision of the “documentary” (esp. regarding the “truth”) status of moving pictures. This study also introduces also important terminological distinction between “mockumentary” (“fake-documentary”) and a contrasting category, that is, “documentary fiction” (also called “docufiction”), giving an instructive and precise definition of both.

Two Suppers: Illustrations by Jacob Cornelisz. van Oostsanen to Passio Domini Nostri Jesu Christi (1523) and the Eucharistic Controversy of the Early Reformation / Dwie wieczerze: ilustracje Jacoba Cornelisza van Oostsanena do Passio Domini Nostri Je

Author(s): Stefaniia Demchuk / Language(s): English,Polish Issue: 18/2018

Ehhez a történethez mindenkinek van köze

Author(s): Nóra Ugron / Language(s): Hungarian Issue: 4/2018

Alina Șerban is an internationally acclaimed Roma theatermaker: actress, playwright and director as well. In the interview made by Nóra Ugron, she talks about her university experiences in Bucharest and abroad. She also talks about the difficulties experienced in Romanian theatre and about her recent performance, The Great Shame, which deals with the history of Roma slavery.

ВІЗУАЛЬНА МЕТАФОРА ІДЕНТИЧНОСТІ ЛЮДИНИ

Author(s): O. V. Cherniienko / Language(s): Ukrainian Issue: 1/2018

To a certain time the processes of human identity formation were not the subject of the general science of human, the change and choice of identity happened spontaneously, economic moments as prevailing in public life were hidden «behind» consciousness. With the assertion of capitalism the construction of a purely economically dismembered society, life manifests itself in the ideological struggle for consciousness, i.e. in the struggle for identity, for concealing or exposing public antagonisms. Identity becomes the subject of theoretical discourse. The actual problematic place on this path is the necessary connection between the theory and practice of fabricating historically new identities. The purpose of this article is a theoretical understanding of the human identity as a social construct and concept in the act of metaphorical vision.Currently the identity is explored as an object of social designing in the media space of a «visible» society for the sake of the trend «all for sale». Visualization, simulation, identification are the human acts, the knowledge of which allows us to comprehend the technological process of human identity. Modern theoretical knowledge of the problems of identity formation points to the mechanism of this phenomenon. Thus, it becomes clear that the metaphorization of the human identity discourse is a law of social categorization. It is important that the metaphor is the identity (individuality, integrity) affirmation through which a complex of ideological (illusory, imaginary) qualities becomes an individual, i.e. proclaims itself a reality (truth, verity). In the metaphorization of the identity discourse a special place is occupied by visual practices: magic ritual, fashion, style, make-up, advertising, cinema, photography, poster, circus, carnival, press, etc. Human, social activities are impossible without rituals. By ritual in this case we mean practices, strengthening common identity and solidarity of community members, collective actions aimed at establishing their own symbolic space and temporality. Libreto of the ritual is a mythology. Ritual (visual) and myth (verbal) are ideological basis of social subject. Ritual and myth are symbolic, metaphorical, demonstrative (visual), etc. In addition to anthropological significance, the concept «ritual» has a common biological one – a stereotypical form of animals’ behavior under various standard communications. Animals usually strengthen their communication by repeatedly rhythmic repetition of its bodily elements (for example, for humans it is a demonstration of complex facial expressions, gestures, etc.). Violation of rituals promotes the formation of new species of animals in nature. «New species» of human are historical forms of culture of imagination and communication.The visual metaphor of human identity will be understood, firstly (from the side of the identity reification), as a social construct, i.e. the everyday vision of identity, the type of«looking» at it, which is embodied in an imaginary desirable image of self, in its own subjectness as «I» for «others» and subjectivity as «I» for «myself» (e.g.: «rose with thorns», «clerical rat», «office plankton», «money-bag», «white crow», «impregnablerock», «brownie», «frog», «wop», «vatnik», «vyshyvatnik», «zhdun», countries of «South» and «North»), secondly (from the side of the identity reflection), as a socio-philosophical technological concept, which is the foundation of theoretical discourse of the identity, this allows us to comprehend and optimize the distinction between social spaces and the totalization of their elements from the side of human visual activity (for example:«regionality», «generationality», «nationality», «genderness», «marginality»,«humaneness»).

PARADIGMATOLOGY PAGES. (HI)STORIES AND TROPISMS

Author(s): Alina Buzatu / Language(s): Romanian Issue: 15/2018

Glossing upon important texts of Thomas Kuhn, Michel Foucault, Giorgio Agamben, my study re-examines some pragmasemantic traits of paradigm, a metatheoretical term of crucial importance in epistemology, and tries to illustrate its logic with contemporary artistic initiatives.

A "DEVOTED COLLABORATION BETWEEN DILETTANTES AND PROFESSIONAL ACTORS" - THE GERMAN THEATRE IN SIBIU AND ITS PROLIFEROUS ENVIRONMENT (1912-1921)

Author(s): Ursula Wittstock / Language(s): German Issue: 12/2017

Theatre institutions rely not only on their public, but also on their significance as a cultural institution in an urban setting. Therefore, theatre historians should not only focus on the history of performances, but also on the extended cultural environment and its direct connections. Institutions like cultural centers, alternative performance spaces or educational contexts redefine the local value of the theatre. The paper focuses on the German theatre in Sibiu/Hermannstadt (Romania) from the point of view of three interactions with its environment in the years 1912-1921.

Muzička pedagogija u Bihaću u osnovnim školama, analiza i preporuka nastavnicima

Author(s): Jasmin Hošić / Language(s): Bosnian Issue: 4-5/2015

Due to poor socioeconomic conditions of our country, parents, but also all those who in various ways deal with issues concerning children’s rights to a healthy and happy life, are justifiably concerned for the future of the children, especially for their safe growing up that will allow them to achieve their full potential. We have entered the 21st century, and unfortunately there is still a dilemma about the actual place of music in both pre-school and school education along with its position and function. I wrote this paper in an effort to search thoroughly the position and function of music education and to highlight its importance in the overall development of the personality. In the paper I especially paid attention to the development of music education in elementary schools in Bihac, and I analysed the plans and programmes in order to give my opinion about possible options for changes and improvement of these.

Popularna i visoka kultura kroz umjetnost

Author(s): Šeherzada Džafić / Language(s): Bosnian Issue: 1/2011

Ever since Romanticism, when the novel began to take over the role of the dominant genre in literature, an artist became one of the main themes and preoccupations: an artist, a poet, a painter, a composer – all typical characters from that period until today. In the society an artist usually becomes social or psychological outsider and a loner. The problem arises when you need to merge two identities - a man and an artist. The artist is created in the man, but one part of the man in never changed - although our experiences are constantly changing, a core of our personality that is hard to describe, always remains the same despite all the changes we are exposed to.

Muzička pedagogija u Bihaću u predškolskim ustanovama – analiza i preporuka odgajateljima

Author(s): Jasmin Hošić / Language(s): Bosnian Issue: 1/2011

Music has always been an integral part of education. It affects the general and spiritual growth of a man as personality and as initiator of all changes in the society. The music educators direct the efforts of those who spend some time learning and acquiring knowledge: as lovers of music, reproductive artists, music educators and music makers. Music educators are likely to foster, develop and enrich the spiritual growth of their students and the community in which they operate. In Bihac, as the center of this part of Bosnia and Herzegovina, we record the earliest beginnings of preschool education on the basis of archival data of the parish office and the chronicles of the nuns in Bihac. In 1893, the Kolster building owned by Catholic church was built in Bihac, where the nuns, in addition to other kinds of work, organized the first kindergarten for preschool children who began to receive a regular music training. The organizer of the first kindergarten was a nun Ida Keller, who played the piano. The kindergarten was led by Ms. Kaller for ten years and in 1903 she was replaced by a nun Grace Futterer. Until the mid-fifties the Catholic Church was the only kindergarten for preschool children where the music was one of the most important subjects. The education of the youngest plays an important role in the development of music pedagogy, therefore, the development of music pedagogy primarily begins in the kindergarten and nursery school, where the children are, for the first time, given an opportunity to develop musical abilities.

Iz problematike Ilirske umjetnosti

Author(s): Dimirtije Sergejevski / Language(s): Serbian Issue: 3/1965

Das Ziel dieses Artikels ist es, zu erforschen, in welchem Masse sich die nationalen künstlerischen Anschauungen der autochtonen Bevölkerung in der antiken Skulptur im Inneren der römischen Provinz Dalmatien (das heutige Bosnien und die Herzegovina) zur Geltung gekommen sind. Während der Antike war der Raum des jetzigen Bosnien und der Hercegovina grösstenteils von Illyriern besiedelt; aber es konnten hier auch andere Nationalitäten gewisse Rolle gespielt haben, in erster Linie die Kelten. Da die Volkskunst einzelner Völker ähnliche Züge besitzt, wäre es fast unmöglich die Eigenschaften auszusondern, die den einzelnen Nationalitäten eigen wären. Da Gebiete, die von bestimmten Völkern besiedelt waren, uns nicht genau bekannt sind, ist es auch nicht möglich die Denkmäler nach den Volksgruppen abzusondern, weshalb sie alle den Illyriern zugeschrieben sind. Die volle Skulptur ist nicht in Betracht gezogen worden da von derselben bis jetzt in B. u. H. nur eine geringe Anzahl solcher Monumente gefunden worden ist und diese — wie es scheint — waren eingeführt oder von fremden Händen verfertigt. In dieser Arbeit wird also ausschliesslich von Reliefs die Rede sein. Da an dieser autochtonen Skulptur eine auffallende Verwandschaft mit der Holzschnitzerei zu bemerken ist, hat der Autor im Vorwort auch einen kurzen überblick über die verschiedenen Arten der Holzschnitzerei gegeben: über Flachrelief, „champs-levé“ und „en-creux“, „äjour“ und Gravierung. Solch eine Abhängigkeit der autochtonen Meister von der Holzschnitzerei, die wir für die älteste Form der Bildhauerkunst in unseren Gebieten halten, erklären wir dadurch, dass die einheimischen Meister, an Holzschnitzerei gewöhnt, überall in B. u H. den Mergel als entsprechendes Material für ihre Arbeiten verwendet haben. A. Schober hat in seinem Werk über die provinzial-römische Skulptur nur ein Relief aus Bosnien angeführt, und zwar nicht das originälste, da ihm andere Reliefe nicht bekannt waren. S. Ferri hat mit Interesse eine Gruppe von Reliefs aus Zentralbosnien verzeichnet, doch nicht näher analysiert. Im Jahre 1952 hat K. Prijatelj im „Vjesnik“ (Split) eine Analyse von Reliefs aus Split veröffentlicht und bei der Gelegenheit auch über einzelne Denkmäler aus B.u.H. gesprochen. Und endlich, im Jahre 1963, hat A. Stipčević in Mailand sein Werk „Arte degli Illiri“ -veröffentlicht.6’ Wegen der Art der Veröffentlichung war es Herrn Stipčević nicht möglich alle die Denkmäler näher zu besprechen. Die weniger interessanten Arbeiten werden hier überhaupt nicht erwähnt. In der Bearbeitung der Denkmäler hält sich der Autor an die zeitliche Einteilung, die mit der stilistischen übereinstimt mit Ausnahme eines Falles, aber auch dieser stört den Lauf der Darstellung nicht. Es muss erwähnt werden, dass die Anzahl der in B.u.H. aufgefundenen römischen Denkmäler aus Stein nicht bedeutend ist, dass aber die Zahl der stilistisch originellen Denkmäler unter ihnen prozentuell gross ist. Diese Tatsache kann vielleicht durch geringe Romanisierung dieses Gebietes erklärt werden: im Raume des jetzigen B.u.H. gab es zu römischer Zeit keine einzige grössere Stadt; das einzige Legionslager befand sich am Rande des Landes in der Nähe der Küste (Humac bei Ljubuški), und auch dieses war nur für eine beschränkte Zeit voll besetzt. Es ist also kein Wunder, dass die einheimischen Kunstraditionen hier stärker empfunden wurden als in anderen Provinzen des römischen Reiches. Die Übersicht der Denkmäler beginnt mit denjenigen, deren Ornament durch Einritzungen („Gravierung“) ausgeführt ist. Sie sind die ältesten dieser Art in B.u.H. Es geht um grosse quadratische, an mehreren Seiten mit Bildern verzierte Urnen aus weichem Mergel und ohne besonderen Deckel.6* Es wurden Urnen und Bruchstücke insgesamt 9 an Zahl, alle in der Nähe der Stadt Bihać auf dem Territorium der Japoden gefunden. Eine grosse Urne aus Ribić wurde unbeschädigt gefunden6®. Sie war von allen Seiten verziert. Die Vorderseite wurde mit einer Darstellung, die die sogenannte lakonischen Reliefen nachahmt, geschmückt (Abb. 1): die Verstorbene sitzt auf einem Stuhl und empfängt Kantharos von einem Krieger. Auf den anderen Seiten sind dargestellt : ein Frauenzug (Abb. 2), eine antithetische Gruppe von zwei Stieren und zwei Reiter. Ausserdem enthält die Urne das Bild eines Ebers und eine Frau mit Kind. Auf dem Bruchstück einer Urne ist ein Reiter mit Helm; eine Platte aus Založje stellt einen Zug von Reitern dar ; das Bild ist in derselben Technik ausgearbeitet, vielleicht auch von derselben Hand, wie jenes aus Ribić (Abb. 4, Anm. 12). Ein Fragment stellt einen archaischen Schützen im Lauf dar. Am interessantesten aber ist die Komposition mit zwei Männern, (gewöhnlich sind es Kriger) die aus Rhiton eine Libatio in einen zwischen ihnen stehenden Krater darbringen. Dieses Motiv befindet sich an vier oder fünf Urnen (Abb. 5, Anm. 15). Alle diese Bilder sind mittels Einkerbung der Konturen mit einer 3—5 mm brieten Linie ausgearbeitet, während in der Figur oft mit dünneren Strichen Einzeilheiten der Kleidung oder Waffen und ähnliches dazugemacht sind. Die Motive und oft auch die Details sind aus der griechischen Archaik entlehnt. Dabei ist aber auch die Beziehung zu der Situlenkunst offenbar. Die Denkmäler sind zeitlich schwer zu bestimmen, was auch schon Hoernes bemerkt hat, der zwei Bruchstücke veröffentlicht hat (aus Ripač und Jezerine).68 Nach den Darstellungen zu urteilen gehören diese Urnen, ausser jener von Sestenius, ungefähr in das 5. Jh. v.u.z., während sie nach der Lage des Fundortes aus einer späteren Zeit stammen müssten.