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İRAN MÜZİK KÜLTÜRÜNDE KADIN MÜZİSYENLERİN SOSYOLOJİK DURUMUNA GENEL BİR BAKIŞ

Author(s): Songül Çakmak / Language(s): Turkish Issue: 21/2018

Iranian music has been hosting a wide variety of musical cultures for centuries because of the cosmopolitan nature of the country. Within this diversity, the role of women in music has been suppressed, resulting in frequent chaos in the country. In women’s folklore studies, the socio-cultural structure of women is regarded as the basis for their behavior and actions. Provisions of Shari'a Law subject the behaviors and actions of women to male-Patriarchal authority. Yet there is much disagreement among Islamic scholars and authorities regarding the socio-cultural structure of Iran. It is seen that gender differences are influenced by culture, gender emerged in different forms in all societies, and increased awareness in this area has brought forth new models. This article examines the position of women in Iran, a patriarchal society that practices gender inequality , and advocates that we should focus on women’s socio-cultural issues. The writers questioning this great change in Iranian music culture have written articles on how women living in Iran are influenced by this change /transformation and their negative effects on their musical direction. Research for this article was carried out in the form of a literature review of the relevant authors' work, publications, and related considerations of the national / international media, and interviews with Iranian women who came to Van to make music.

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GERÇEKÜSTÜCÜLÜĞÜN YENİLİKÇİ GİYİM MODASINA ETKİLERİ

Author(s): Şöhret Aktepe,İkbal Çetin / Language(s): Turkish Issue: 54/2019

Modernism is the period in which all fields of art, from the literature to the social life, experienced change, emerging in the 19th century in the western world. In this process, the fashion and social habits of the society are combined with the technological developments and include the changes that have taken place in the aesthetic pleasure of the individual. Surrealism in modern art movements that emerged as a reaction to traditional art movements has established a bridging role in the interaction of fashion with art, since innovative artists are creating and imagining the dream world. Towards the end of the 1920s, the new era began with the fusion of innovative fashion and contradiction of surrealism. This article focuses on the concept of Surrealism, which connects fashion and art, and gives clues as to where the fashion products are being exhibited in the museums and their progress towards becoming a work of art, and where the fashion is in art.

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ANKARA GÜVEN ANITI'NIN TOPLUMSAL VE FİZİKSEL AÇIDAN ÇEVRE İLE İLİŞKİSİ

Author(s): Necmettin Yağcı / Language(s): Turkish Issue: 33/2019

In the new urban conception of the Republican era, parks and squares emerge as important centers of public life. In addition, monuments and sculptures were also included. These areas where was a sign of The War of Independence, the Republic, modernity and secularism. Most of the monuments are figurative, but religious and political. One of these monuments including political leaders, culture and scientists is the Monument of Güven. The Monument of Güven is a composition describing the trust of the Turkish Nation in the police and the gendarmerie. The monument of Güven is at Kizilay Square in the center of Ankara. This place where the monument is located brings people together, collects and exchanges culture. They form social images related to the space and the environment in the activities carried out in this area. The most important feature of the capital of the Republic of Ankara is the monumental sculpture. The Republican architecture and art, envisioned as an ideological tool by the power, undertook the task of representing the regime. The most important function of the monuments within the understanding of the new city created in the early Republican years; Nation State understanding, modernity and the Republic has become an indicator of the values. The most important indicator in these monuments; was designed and put into place in accordance with a set of principles with physical properties. It should be in accordance with the universal art conception. These principles include; Unity is ratio, scale, harmony, balance, symmetry, rhythm and contrast. other functions should be considered. The monument of Güven creates a spatial image like an artistic expression by changing the physical environment, feelings and thoughts with a human and social perspective and making a unifying effect.

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RENCOUNTERING ONESELF. RESHAPING THE BODY-MIND UNITY IN THE ACTING CLASSROOM

Author(s): Raluca Lupan / Language(s): English Issue: 1/2019

The following article treats the subject of first year pedagogy in the acting classroom: body-mind concept, the use of space-time in a theatrical approach, the understanding of the performer-student’s own body. In the borders of the classroom a profound research on the body and its performative actions is required alongside a personal tackle in the physical patterns of the performer-student and the constructive use of the creative process. The article is a short graphical inside of how an acting technique like Viewpoints can provide a large range of possibilities from which a student can begin to understand the relationship between one own’s body and space-time cuantum, body-mind-presence.

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Igralske skupine IX. korpusa NOV in PO Slovenije

Author(s): Slavica Plahuta / Language(s): Slovenian Issue: 1/2000

The paper deals with the organization and development of the partisan theatrical activity in the framework of the theatrical groups of the Ninth Corps of the National Liberation Army (NLA) and Partisan Detachments (PD) of Slovenia. The groups helped to revive once well established professional theatrical activity in Primorska and, after the war, became the nucleus of the newly founded Slovenian Theatre in Trieste. Their repertoire, which was also propagandist and mobilizing in character, was enthusiastically welcomed by the audience eager to hear the Slovene word.

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Juudit Anton Starkopfi ja August Roosilehe loomingus

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Juudit Anton Starkopfi ja August Roosilehe loomingus

Author(s): Kai Stahl / Language(s): Estonian Issue: 01+02/2019

The focus of this article is on the story of Judith, originating from one of the deuterocanonical books of the Old Testament, as depicted by the Estonian artists Anton Starkopf (1889–1966) and August Roosileht (1887–1941) during the period from just before World War I until the second half of the 1920s. On the basis of comparative material, I present one possible interpretation of these artworks based on the feminist perspective, which reflects coeval gendered discussions and points out that the protagonist is interwoven with both the figures of Salome and Medusa. In her essay ‘Reading Art?’, where Mieke Bal discusses the guidelines for analysing visual art, she mentions: ‘As soon as we hear the name [Judith] or see the scene, we are already, willynilly, involved in the frame of biblical heroism, cultural misogyny, the conflict of loyalties where this woman is heroic for killing the enemy and lewd for trapping a man through sex.’1 Judith, the beautiful noble widow, saved her home city of Bethulia, which was under siege by the Assyrian army, by first seducing their commander Holofernes and then beheading him on his bed in his tent using his own sword (Judith 10–13). The apocryphal Book of Judith is not part of the Lutheran canon, which has been historically dominant in Estonia. However, at the beginning of the last century, interest in the story of Judith and Holofernes seems to have risen, culminating in 1921, when the play Juudit (Judith) by the Estonian writer Anton Hansen Tammsaare was published. This anti-religious drama rapidly received recognition2 from cultural figures in Estonia, and the Drama Theatre in Tallinn started its autumn season with this play, under the title Petuulia. The biblical account was used as a background for the tragedy but, more than ten years earlier, the writer had also become very familiar with Oscar Wilde’s sensational play Salome (first in French, 1891) and Friedrich Hebbel’s drama Judith (1840). The latter in particular has been seen as an influence on Tammsaare’s drama.3 A fundamental innovation was Hebbel’s transformation of Judith through a strong misogynistic filter4, and the fin de siecle intellectuals, artists and writers merged these two biblical figures, Judith and Salome, into a single image of the quintessential femme fatale.

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AKTYWIZACJA POTENCJAŁU MIESZKAŃCÓW MIAST POLSKICH POPRZEZ DZIAŁANIA ARTYSTYCZNE W OPARCIU O WYBRANE PRZYKŁADY

Author(s): Anna Stasiak / Language(s): Polish Issue: 2/2019

Currently, over half of the inhabitants of our globe live in urbanised areas. This has led to a significant increase in population density in cities over the last few decades, and thus has changed the lifestyle of their residents. In thousands of cities, it is increasingly difficult to find a pretext and the opportunity to establish closer relationships with the people around us. Artistic activities related to the creation and presentation of art in public spaces are one of the ways to activate the potential of urban residents. The aim of the article is to analyse five small-scale artistic activities defining spatial procedures, thanks to which positive effects can be achieved – socialising and making space more aesthetic.

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MANIFEST SZTUKI OPIEKI

Author(s): Mierle Laderman Ukeles / Language(s): Polish Issue: 32/2019

This publication has three parts. The oldest and most important is the manifesto Maintenance Art by Mierle Laderman Ukeles from 1969, in which she discusses the problem of social exclusion in its multiple forms, i.e. exclusion of women from the art world; exclusion of reproductive and care labor etc. It is preceded by the Artist's Introduction from 2014, where she discusses her artwork from the 1970s, conducted in the New York City Department of Sanitation and the Introduction by the Translator, situating the Manifesto and subsequent artistic practice in the theoretical and political context.

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Granice wolności artystycznej – zarys problematyki

Author(s): Karolina Król / Language(s): Polish Issue: 1/2018

This article raises issues that pertain to the offence of infringement of religious freedom and insulting religious feelings (Polish Penal Code, Article 196) through the exercise of freedom of expression, especially freedom of art. Both religious freedom and artistic freedom are crucial values in a democratic society and should be protected. They interact in many ways by reinforcing or competing with each other. Thus, it is very important to find the right balance between the two in order to enforce these rights fairly. Both freedoms are guaranteed by the European Convention on Human Rights, as well as by domestic law, but it seems that as yet there is no common European standard on how to settle the conflict between those two freedoms.

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Zabytki na uchodźstwie – safe haven jako narzędzie wielopoziomowej współpracy międzynarodowej na rzecz ochrony dóbr kultury

Author(s): Piotr Lasik / Language(s): Polish Issue: 1/2018

This article aims to demonstrate the necessity of creating collaboration between cultural institutions, which serves to provide the safeguarding of monuments originating in territories affected by armed conflicts and terrorist attacks. A solution proposed in the past is that of safe haven, which has now been recognized by the international community. In this article, in addition to presenting historical perspectives of this idea, the concept of safe haven is analised from the lawyer’s perspective in national and international legislation and soft law, consisting of documents by the International Law Association, Association of Art Museum Directors, United Nations, and UNESCO. This analysis shows the advantages and disadvantages of practical application of safe haven in relation to United Nations Security Council Resolution 2347 (2017).

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Zagrożenie dziedzictwa kulturowego przestępczością – analiza wydarzeń w 2017 roku

Author(s): Olgierd Jakubowski / Language(s): Polish Issue: 1/2018

There are a variety of methods that may be used in the analysis of crimes against cultural heritage which allow us to determine applicable level of risk. A case study covering all instances of crime against cultural goods during the period of one year allows us to note tendencies present in the behaviour of criminals, and helps develop methods to counteract similar crimes in the future. Based on the results of several such case studies, it is then possible to assess the risk of crime against national heritage in a much more complementary manner and minimise its occurrence. This article presents selected cases of crime in 2017 based on statistics prepared by the national police,National Revenue Administration,and border police.

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Circulation of Cultural Objects in Russian Law – An Overview

Author(s): Yulianna Vertinskaya / Language(s): English Issue: 2/2018

The aim of this article is to offer an introduction to the Russian Federation’s cultural property legislation. More precisely, this article focuses on the civil and criminal law provisions for cultural property acquisition, commerce, and protection. First it offers an overview of the definition of cultural valuables, its status under Russia’s legislation, and its commercial turnover. It explains that cultural valuables constitute “res commercium”, with free commercial circulation within the territory of the State, i.e. it is not “res extra commercium”, albeit its legal status demonstrates it is subject to certain restrictions concerning the import and export of cultural property. It further outlines recent amendments to the Law on the export and import of cultural goods and explores the construction of inheritance funds as a potential option for managing cultural property and art collections.

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КИНЕМАТОГРАФИЈА КАО СРЕДСТВО КРЕИРАЊА НЕГАТИВНИХ СТЕРЕОТИПА О СРБИМА

Author(s): Dejan R. Dašić / Language(s): Serbian Issue: 1/2015

The subject of this paper is the impact of cinema for the creation of negative stereotypes about the Serbs. The paper analyzes the postmodern theory of Jean Baudrillard, where the media have great influence in directing social processes. The media can serve the development of democratic consciousness and culture of peace, but also to stir up racial, religious and national hatred, as one-sided reporting of significant events in the society. After the well-known events in the early 90s of the past century, Serbia was left for the “external branding” of the various international institutions, the Hague tribunal, and now the cinema is one of the important factors of the negative branding of our state and nation.

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АДОРНОВА РАНА ТЕОРИЈА ДРУШТВА И МУЗИКЕ (1928-1934)

Author(s): Dragana Jeremić Molnar,Aleksandar Molnar / Language(s): Serbian Issue: 3/2011

The purpose of the authors in the article is to contextualize Adorno’s early theory of society and music in his experience of Weimar Republic and Third Reich. The importance of the revolution in his first outline of sociology of music is especially stressed. At he beginning this period, it was the revolution of the workers class that he was trying to reconcile with the dodecaphonic revolution in music (which he believed he had already witnessed in Wienna while studying with Alban Berg). But, his attitude changed towards the end of Weimar Republic and at the beginning of Third Reich (Adorno left Germany in April 1934) and he separated the paths of two revolutions, arguing that the revolution of the workers class could be pursued by the means of “vulgar bourgeois” choral music (with new lyrics).

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Interprating Chromatic Codes through the Ages and in Different Modern Social Contexts

Author(s): Dario Terzić / Language(s): English Issue: 15/2019

Colours are crucial to what we may call “the visualization of identity.” There are numerous scientific disciplines that address the issue of colours. Chromatics as a discipline (focusing on the role of colours in communication) is of recent origin. It is the social context that makes colour important, gives it a social definition and meaning, creates codes and values. Messages that we receive contain different codes, which can be dominant (we accept them by default), subject to negotiation (we accept them partially) and oppositional (we reject them). If we change colours in a message (a flag, car, or sports jersey), our intention is to change the message as well. Misunderstanding arises when the two sides in communication understand a single sign or message differently (the so-called “noise in communication” according to Schram). Conflicts are mostly caused by differences in the interpretation of facts.

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Referencijalni simbolizam i semiotički aspekt djela umjetnosti i dizajna

Author(s): Silva Kalčić / Language(s): Croatian Issue: 15/2019

Destination: Unnamed, the exhibition in the billboard medium by Nadija Mustapić and Toni Meštrović (2017), is an example of art in public space (photographs in a standard advertising space in the format of a billboard poster), whereas the poster for the theatre play Fine Dead Girls, directed by Dalibor Matanić (Gavella, Zagreb, 2013), is the work of design in public space (of both the city and the mass media, in the format of a theatre poster) in the context of national visual arts of today. With these examples I have connected the following subjects: 1. Agamben’s dispositive, derived from the juxtaposition or the interpenetration of relations of power (for example, through governantism) and relations of knowledge (discursive and non-discursive ones), which perceives art practices as formations of the relations of power. 2. Compression of time impoverishes, depletes cultural signs, transforming them into “zero signs” or “weak signs,” according to Agamben. Boris Groys notes that such “weak” signs triumph over the strong and “powerful” signs of our time, those of authority, tradition, power, but also over the powerful ones of rebellion, passion, heroism. 3. “Poor image,” in the sense this term is used by Hito Steyerl (in her text „In Defence of the Poor Image,“ 2009) when referring to the mass-distributed and reproduced image in the digital media network.

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Kome je Kome, Polen je svuda

Author(s): Sanja Horić / Language(s): Bosnian Issue: 2/2018

Grafiti su u Tuzlu stigli tek 1990-ih. Nakon sporadičnih pojava grafita na tuzlanskim zidovima prije i tik poslije rata, prava scena se gradila tek krajem zadnje decenije 20. vijeka. Misteriozne poruke, tagovi, odnosi između ekipa i obilježavanja teritorija, poznati su samo onima koji su dio te kulture. A kako bi priča mogla biti autentičnija, nego onda kada je ispričaju baš oni koji su je zaista i doživjeli. [...]

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MuzTz. O čemu uopšte pričamo?

Author(s): Amir Čorhodžić Šeki / Language(s): Bosnian Issue: 2/2018

Vrlo je smjelo nazvati scenom ono što se u Tuzli dešava po pitanju proizvodnje i slušanja muzike. U stvari, slobodno mogu reći da takvo nešto i ne postoji. I bolje je bilo leći i praviti se mrtav, nego se prihvatiti opisivanja i mapiranja tog mitološkog pojma. Tuzla je sama po sebi budžak – vječito mali grad, i samo se u par navrata desilo da su dešavanja u muzici i pop kulturi nadišla karakter provincijalnosti i bila generator zajedničkih energija šireg kruga ljudi. Ako krenemo redom, od kraja šezdesetih i početka sedamdesetih godina i pojave prvih pop-rock bendova pa na ovamo, priča glasi ovako. Počelo je normalno, kao i svuda u okruženju – Radio Luxemburg, skidanje tuđih pjesama i sviranje na igrankama. Mjesta za svirke je bilo malo (više nego danas) ali sljedbenika je bilo sve više i novi bendovi su se množili. [...]

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Stoljeće Vile Dalmacija na Marjanu – od Pansiona Split preko Titove vile do međunarodne umjetničke rezidencije

Author(s): Duška Boban / Language(s): Croatian Issue: 4/2019

Znamo da je o današnjem Splitu nemoguće govoriti izostavljajući riječ turizam ili njene izvedenice. Gubeći industriju u postsocijalističkim i poslijeratnim vremenima, grad se promijenio i na kraju postao monokulturna destinacija čija se ekonomija mjeri samo brojem noćenja apstraktnog značenja. Turizmu se u Splitu i okolici ne pristupa kao prilici za razvoj raznorodnih privrednih i kulturnih grana. Ne shvaća ga se kao “industriju doživljaja” niti kao poticaj osnaživanju lokalnih specifičnosti koje bi kao autentični i moćni atraktori bile i razlog za povratak posjetitelja. Turizam je ovdje tek šansa za “brzu lovu”, ugostiteljima i iznajmljivačima vlastitih spavaonica, šupa i nadogradnji, a osobito građevinskom lobiju i investitorima koji, slizani sa stimuliranim političarima i upravnim birokratima, teže nekontroliranom eksploatiranju najvrjednijih prostora grada, najčešće izgradnjom hotela. [...]

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Nikad boljeg vremena za umjetnost

Author(s): Bojan Krištofić / Language(s): Croatian Issue: 1/2019

Pisati retrospektivne preglede dosega umjetničke proizvodnje unazad desetak godina definitivno je đavolji posao, u najvećoj mjeri nezahvalan. Možda čak i nepotreban, jer pozvan li si ponuditi svoju interpretaciju pojava i događaja u kojima si i sam sudjelovao, bilo kao proizvođač, bilo kao pratilac, neovisno o tome je li ti sjećanje sasvim svježe ili su se poneka zbivanja s početka desetih već izgubila u propuhu vremena, htio–ne htio predloženi narativ nadogradit ćeš s prijeko potrebnom dozom fi kcije kako bi priča bila uzbudljiva. To je neizbježno. Stoga, imajući na umu sklonost svih pripovjedača prema mistifikaciji izabranog sadržaja, makar minimalnoj, i dakako ubrajajući i sebe sama, mogu samo ustvrditi da bi čitatelji sljedeći pregled (meni) najzanimljivijih suvremeno–umjetničkih i vizualno–kulturnih gibanja u desetljeću na izmaku trebali bez daljnjega uzeti sa zrnom soli. [...]

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