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The article focuses on indirect and complicated connections of Balys Sruoga’s personal attitudes and his works with the main philosophic trend of the 20th century, namely the idea of individual’s unconditioned value and issues of rebellion, anxiety, as well as temporality and purport of life, elaborated by modernist art movements (Symbolism, Impressionism and Neo-romanticism) and highlighted by Existentialism. It searches not for Sruoga’s reply to philosophical postulates or paraphrases of an important thesis, but rather for author’s authentic attitude within the context of this paradigm. Research is focused on the significance of Jurgis Baltrušaitis, a Lithuanian diplomat and poet, as well as Russian symbolist, for Sruoga. It also highlights the role of the Teacher of the younger generation, assumed by Sruoga during the Nazi occupation. In doing so, the following works are analysed: early poetry, novel, Dievų miškas (The Forest of the Gods), and drama, Pajūrio kurortas (The Resort at the Seaside). The theoretical approach to the above mentioned texts consists of the history of the 20th century ideas, the context of modern literature and trends in philosophy, Enterbter Geist (The Disinherited Mind) by Erich Heller that offered a look at the 19th century and the continuity of its thinking traditions in the 20th century, as well as the concept of the literary field proposed by Dominique Maingueneau.
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The purpose of the present study was to investigate student music teachers’ expectations towards their future professional activity and competences of a music teacher. Two groups of students (76 Lithuanian and 64 foreign), who chose studies at Lithuanian University of Educational Sciences, participated in the research. In this article, the results from the qualitative survey carried out in 2017 will be highlighted. The results showed that in music education it is particularly important to combine orientation towards pedagogical activities with orientation towards the spread of the learner’s personality. The music students at the University describe their future professional activities as broad and multidimensional ones but they also emphasise the importance of personal values, implementation of general, subject-specific, professional (didactic) competences and continuous improvement. Participation in musical and artistic activities plays a specific role in the spread of professional identity of a music teacher.
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Today inclusive education encompasses many more types of “otherness” than before. Systems like the Universal Design for Learning encourage us to consider the abilities of all learners, not just those with disabilities, yet in-service and preservice teachers feel unprepared to teach diverse populations of students, accounting for negative attitudes towards inclusion. Changing the dispositions of future teachers is no easy task. For teacher education to become transformative rather than reproductive, many researchers have pointed to field experiences as being the key to success in changing teacher practices and dispositions. Since field experiences involve collaboration between the pre-service teacher and the school-based mentor, the aim of this research was to examine the voices of participants and prompted these research questions: how are future music teachers being prepared by university-based teacher education programs for inclusive classroom practice? What problems do pre-service music teachers face during field experiences? What challenges do school-based mentors face when guiding student teachers to work with diverse pupil needs? Focus group discussions were chosen as the method of data collection. Three groups consisted of bachelor-level students from two Lithuanian universities. The fourth consisted of six music teacher mentors.
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This article presents the results of an investigation into the initial educational content of theatre subject in 11th or 12th grades in Lithuania. It is shown, that the initial educational content of theatre subject is devoted to obviate the negative pupils’ attitudes to themselves and their inabilities to interact. Also, to achieve an expressing pupil’s individual point of view, creating respectful relationships, behaving as a co-creator.
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XIV Dni Muzyki Kościelnej odbyły się w dniach 18–25 listopada 2018 roku. Zbiegły się one z dwoma – ważnymi dla archidiecezji oraz muzyki kościelnej – jubileuszami: 10-leciem powstania Międzyuczelnianego Instytutu Muzyki Kościelnej w Krakowie oraz 20-leciem Archidiecezjalnej Szkoły Muzycznej II st. im. ks. Kardynała Franciszka Macharskiego w Krakowie.
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This study explores current trends in representing and communicating climate change by media industries. It reviews the current literature on mainstream media narratives of climate change focusing on their naturalization of progress and their techno-optimism (e.g., as regards geoengineering). It provides insight on how the media industry’s commercial agenda is linked to the types of disseminated messages and dominant imaginaries. It compares respective codes inherent in news media and film/fictional representations of climate change on representative examples. It traces the evolution of disaster/dystopian genres that involve climate issues. It discusses the implications from such a comparative analysis in terms of the potential failure to mobilize the public – to first imagine the alternatives and then to act collectively for the sake of the “post-carbon” future.
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In the article the authors try to build a research reflection by means of a logical description of the result of self and technology – sound carriers/media, up to the extreme form, that is their disappearance, or distance from the listener/user. The authors show the influence of media on the organization of musical expression in the field of semiotics, technology and aesthetics. The starting point of the article is a reflection on a fragment of the lyrics, which suggests a return of music to the air. The authors reconstruct the evolutionary path of sound carriers and reach the place where the air was the primary carrier. At the same time they analyze the contemporary face of technologically entangled air (as a carrier), which is no longer the air from the pre-industrial era, but rather a symbolic place where one can find wireless communication, the Internet or Bluetooth.
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Fundacja Take Care powstała w 2013 r. z inicjatywy osób pracujących w Jabil Global Services (obecnie iQor Global Services) w Bydgoszczy. Powstanie fundacji było reakcją na śmierć naszej koleżanki z pracy – Justyny, która mimo młodego wieku przegrała walkę z rakiem. Poruszeni odejściem Justyny, chcąc pomagać innym, podziękować za to, co mamy, oraz zapewnić regularne wsparcie tym, którzy go potrzebują, założyliśmy fundację, której celem jest niesienie pomocy najbardziej potrzebującym.
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This article aims to present the songs and activity of Tomáš Hnídek and their reception among extreme right-wing sympathisers in the Czech Republic over the last decade. The study analyses the use of selected elements of collective imagery related to the singer-songwriter convention, with particular reference to the figure of Karel Kryl. It also draws attention to persuasive techniques of creating an image and to their influence on the reception of the singer-songwriter genre in the context of hate speech and struggle over a new politics of memory in the Czech Republic, pursued by extreme right-wing politicians and their followers.
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The article is an attempt to combine in one reflection the elements of two directions of critical thinking: discursive and performative. The starting point of the analysis is the assumption (derived from beliefs common in pre-performative times) that every space (including a city’s territory) can be treated as a text. This means that both static artifacts and activities in a given space communicate a certain message and can be seen as signs or symbols that refer to something outside of them. Our reflection focuses on practices in which the performative potential is fully revealed and which can be interpreted as a kind of rebellion against the present reality and official policies of memory. The analyzed activities are understood here as symbolic and cultural practices and aim to introduce changes on several levels: to change the historical consciousness of community members; to affect the nuances and expansion of national memory (in this case Serbian or Croatian); to modify the nature of memory. We are interested in interventions that are usually undertaken by persons or groups located on the outskirts of the system of power.
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Review of: Lech A. Suchomłynow - Ewa Wróblewska-Trochimiuk, Sztuka marginesów. Chorwacki plakat polityczny (The Art of Margins. The Croatian Political Poster), Warszawa–Kraków: Instytut Slawistyki Polskiej Akademii Nauk – Libron, 2018, 324 pages
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We have to try to understand the position, the value and the purpose of arts and designs in our daily lives. The main purpose behind the birth of arts is the need of humanity to communicate. If we take a look at the history and go through the hieroglyphes and murals we can easily see that they are all there for to communicate. We have to know the fact that if we do not value art, our lives will be meaningless. Arts and design can be considered as an exposition of our emotions, feelings and experiences. Illustrations in graphic design is a form of art and like all graphic arts its main purpose is to deliver a specific message or messages to a society. Illustration is a branch of graphic design which has a strong correlation with the culture phenomenon. An illustration which can bond with many cultures and manages to become inter-cultural can be considered as successful and effective. We can say that graphic design is a fundamental fact and form of art in which we shape through our senses and experiences in daily life.
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The present text is an effect of considerations devoted to art education of an early-school child focused on stimulating children’s creativity and artistic imagination. The first part of the article presents considerations regarding the issue of artistic imagination and creativity. The second part discusses the concept of designing artistic activities at the level of early school education as a stimulator of imagination and child creativity. The third part of the article is an attempt to present the possibilities of using the techniques of contemporary art as a platform for pedagogical activities.
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The article deals with the possibilities of early British punk perception, primarily as an outgrowth of popular culture. It is considered that it emerges under its auspices and that it follows its basic guidelines. However, punk appears as its criticism as well, especially of some popular culture genres that preceded punk. In that way, punk establishes as a form of musical subculture. In Yugoslavia, this genre of music appeared, following the lead of British role model, enriching it with classical and avant-garde artistic interventions. The author tries, based on the sketching of socio-cultural context in which punk rises, to understand and interpret the actual presence of politics and its position within the phenomenon of punk rock.
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The article deals with the possibilities of early British punk perception, primarily as an outgrowth of popular culture. It is considered that it emerges under its auspices and that it follows its basic guidelines. However, punk appears as its criticism as well, especially of some popular culture genres that preceded punk. In that way, punk establishes as a form of musical subculture. In Yugoslavia, this genre of music appeared, following the lead of British role model, enriching it with classical and avant-garde artistic interventions. The author tries, based on the sketching of socio-cultural context in which punk rises, to understand and interpret the actual presence of politics and its position within the phenomenon of punk rock.
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The purpose of the article. Development of an interdisciplinary set of research methods that are productive for studying the features of social and creative self-realization of the Artist in the cultural and Communicative Space of Ukraine and the world community. Methodology. The research which is of a scientific nature is based on general scientific approaches: dialectical logical and historical. The author resorts to the interdisciplinary construction of the theoretical and methodological basis of the work including a set of empirical and theoretical general scientific methods methodological tools of Culturology informology methods of Socio-Cultural Management. The scientific novelty is due to the need to determine the epistemological approaches and substantiation (taking into account trends in modern Science) of the structure and scientific and cognitive capabilities of a set of methods and rational methods of solving important for the further development of Culturology scientific problem of the Artist's personality modern culture. Conclusions. It is proved that the interdisciplinary approach is optimal for ensuring the productivity of studying the features of the Artist‘s creative realization in the modern Communicative Space. Comprehensive application of methods Culturology theory of social Communications methods of public administration and Management of Socio-Cultural Activities social Psychology historical and cultural methods cognitive tools of other humanities can identification of stable essential features of the functioning of the creative personality in the environment of Socio-Cultural Communications.
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The purpose of the article is to define the conception of perception of poetic texts and illustrations by generalizing these forms of arts. The methodology is based on the functional approach to verbal and non-verbal text comprehension. The scientific novelty of the work lies in understanding the process of generalization of two forms of arts, such as poetry and illustration that proves the idea of their twofold nature. The developed typology of poetic texts with a basic parameter ―antithesis‖ and classification of the forms of illustrations are founded on the correlation of projecting and conceptual principles of reality reflection in verbal and non-verbal texts, and on the explicitness degree of evaluative characteristics. Conclusion. The generalization of two forms of arts contributes to developing a course of action for an artist-illustrator. The significance of the scientific research results can clarify the elements of ambiguity, uncertainty, obscurity in the process of perception of any work of arts.
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The purpose of the article: to outline the stages of the formation of the Sacred Dance and its possible types, to determine the sacred-ritual meaning of the Sacred Dance, to investigate the theme of staging the Sacred Dance in the English court Masque in the first half of the XVIIth century. The research methodology assumes the unity of such methodological approaches as the system-historical and comparative methods of analysis. The systemic-historical method made it possible to consider the stages of formation, flourishing and the period of the actual prohibition of the sacred dance. The comparative method helped to reveal the similarity of the connected dance-labyrinth with the dance labyrinth in the English court Masque. Scientific novelty lies in an attempt to comprehend the sacred and ritual significance of the Sacred Dance, for the first time the Sacred Dance (labyrinth dance) is considered within the framework of the musical and theatrical performance of the English court Masque. Conclusions. In the early Christian period, the sacred dance was viewed as an act of ritualized worship of God, an act of manifesting immeasurable love for God. In different historical periods, famous philosophers, historians, playwrights, and poets saw in dance the highest meaning of Divine Love. The peculiarity of the dance performance in the court Masque allowed the invited guests to get in touch with the specifics of the existence of the royal English court. The nature of the dance, as a part of the English court Masque, is cosmopolitan based on the sacred-ritual discourse. The laws of harmony, Higher order and Reason, the Christian meaning of which was revealed through dance in the main part of the Masque, represented the English monarch as the center of the Universe.
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