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Specyfika i miejsce eksponatów „prywatnych” w procesie narracyjnym — na przykładzie doświadczeń Domu Kuncewiczów w Kazimierzu Dolnym

Specyfika i miejsce eksponatów „prywatnych” w procesie narracyjnym — na przykładzie doświadczeń Domu Kuncewiczów w Kazimierzu Dolnym

Author(s): Monika Januszek-Surdacka / Language(s): Polish Issue: 1/2022

The Kuncewicz House — a part of the Vistula Museum in Kazimierz Dolny is a literary museum established in the former villa of Maria and Jerzy Kuncewicz. It is a very special place with unusual exhibits. The collection consists of objects collected by the Kuncewicz family. These are souvenirs, gifts, personal belongings, even Maria Kuncewiczowa’s wardrobe. Each exhibit is a unique, separate narrative trail for the museum staff. These exhibits are related to the Kuncewicz’s history, but also to the creators or donors of these objects (e.g. paintings furniture etc). However, the stories of some objects are often unknown. The museum staff reconstructs the narrative of the exhibits, and uses them not only to prepare popular science and educational texts enriching the knowledge of the Kuncewicz family and their friends, but also to discover facts about Kazimierz Dolny and the art colony existing in this town in the 20s. and 30s.

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Feeding the Algorithm? Strategies of Technosensation in Artistic Project Based on Bio-Parametrisation’s Techniques

Feeding the Algorithm? Strategies of Technosensation in Artistic Project Based on Bio-Parametrisation’s Techniques

Author(s): Ewelina Twardoch-Raś / Language(s): English Issue: 3/2022

The article investigates various kinds of the strategies of technosensation in artistic project based on bio-parametrisation’s techniques. The category of technosensation is in the article referred to the considerations of Luciana Parisi and Marie-Luise Angerer to define the relationship between body affectivity and computational systems (primarily in relation to automated decision-making systems and machine learning processes). The context for these considerations is the reflection on “technological redlining” as a strategy for racial, gender, and (dis)ability profiling of computational systems, which generate social exclusion, inequalities and oppressiveness. In the article, the author considers (with reference to the considerations of Parisi, Bernard Stiegler, Yuk Hui and Gabbrielle M. Johnson) to what extent the algorithmic biases are the result of automation, and to what extent they result from the absorption of uncertainty, randomness and technodiversity. Technosensation strategies are considered in relation to the artistic practices of Zach Blas, Maja Smrekar, Marija Griniuk and others, pointing to subversive, critical and affirmative variants of technological functionality and agency. The presented projects prove that the functionality of computational technologies is not bipolar, but it is developing as a spectrum of nuanced mechanisms, both in the area of oppressive-exclusionary systems and emancipatory strategies

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Sociocultural Practice in the Discourse of Creative Industries Development

Sociocultural Practice in the Discourse of Creative Industries Development

Author(s): Olha Kopiievska,Kateryna Haidukevych,Maryna Pashkevych,Maryna Viktorivna Kozlovska,Eugenia Korolenko / Language(s): English Issue: 1/2023

The article examines examples of sociocultural practices in advertising and PR, music, cinema, gamification, tourism, and art. Analyzing the proposed topic, the dependence of transformation of sociocultural practices on technologization and informatization of society, on merging of different spheres of creative industries (on the example of advertising and content), and interdependence of society and the process of content creation were established. The sphere of “project activity” as a way of combining traditional and innovative foundations to improve and enrich culture, effectively draw attention to social problems, and involve new people in the creative industry was considered separately. To carry out this research the author used the following methods: comparative-historical, hermeneutic method of generalization. At the end of the article, the author concludes that in the era of globalization with different topical problems in the creative sector of the economy there is a certain way out. This sector of the economy combines economy and culture, develops small and medium-sized businesses, reduces unemployment, and monetizes human ideas and creativity. Today sociocultural practices are required to be mobile, digitalized, merging different directions within the sphere, flexible, unique content, subordinated to economic indicators, and attracting attention to a particular event or problem.

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GİYİM SANATI AÇISINDAN KIRŞEHİR MÜZESİ İŞLİK VE CEPKENLERİNİN ARAŞTIRILMASI

GİYİM SANATI AÇISINDAN KIRŞEHİR MÜZESİ İŞLİK VE CEPKENLERİNİN ARAŞTIRILMASI

Author(s): Nurhan Özkan Kuş,Derya Çelik,Nurgül Kilinç / Language(s): Turkish Issue: 42/2023

Culture; It can be defined as the whole of material and moral values that are inherited from their ancestors, covering knowledge, art, morals, customs and traditions, all abilities and habits acquired by people from the society in which they live. Islik and cepkens, which are important elements of the culture, which are considered under the sub-title of clothing, which is a product of material culture, are the subject of the research. One of the most important indicators of our culture, the protection of islik and cepkens, transferring them to future generations, promoting them and keeping them alive are among the objectives. It is important to examine and document the islik and cepkens, which are worn out over time and face the danger of extinction, in terms of reflecting the characteristics of the period. The content of the study was taken from the traditional clothes islik and cepken samples in the Kırşehir Museum. The clothes were examined in terms of the material used, color, model, cut, sewing, lining, ornamentation and size properties in accordance with the observation slips created. Detailed photos were taken. By combining the information obtained with today’s trends, one ‘cepken was sewn. It is thought that this study will contribute to the promotion and survival of traditional clothing, which is an important part of Turkish clothing culture.

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OSMANLI DEVRİ İSTANBUL TASVİRLERİNDE KIZ KULESİ BETİMLEMELERİ

OSMANLI DEVRİ İSTANBUL TASVİRLERİNDE KIZ KULESİ BETİMLEMELERİ

Author(s): Aliye Öten / Language(s): Turkish Issue: 42/2023

A contemporary look at the Maiden's Tower in Ottoman books and buildings, which we miss due to the restoration, revealed quite different depictions of Istanbul, each of which bore traces of several hands and eyes. This study examined the Maiden’s Tower depictions in those embroideries, which had a long history and spread over a broad region in the Ottoman Empire. It is seen that the observation, knowledge and designs of folk artists meet with technique and ability, especially in hand-drawn examples where those who support and order the artist are known but the owners of the works are not. Figures in the enlarged sample area together with miniatures that set the stage for hand-drawn examples and examples turned into wall paintings; Topographic urban depictions, hand-drawn illustrations and wall paintings were examined separately under the titles of Istanbul depictions, and the characteristics of change and development in the chronological framework were tried to be determined. The chronological changes in those figures were also described in this endeavor. Just like any attempt to describe an artwork’s imaginary and realistic aspects, our primary intention was to depict the Maiden's Tower, a unique and inspirational symbol of Istanbul, with its artistic reality and beauty. Thus, it is aimed to take a step towards achieving the purpose of evaluating the importance of the Maiden’s Tower in Istanbul and the Ottomans who carried the depictions of Istanbul to their homes, and the bond it established with the city within the framework of art.

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HEREKE FABRİKASINDA ÜRETİLEN BAZI İPEK DOKUMALARDA RENK, DESEN, TEKNİK ÖZELLİKLER

HEREKE FABRİKASINDA ÜRETİLEN BAZI İPEK DOKUMALARDA RENK, DESEN, TEKNİK ÖZELLİKLER

Author(s): Ayşe Gamze Öngen,Şebnem Gökçeli / Language(s): Turkish Issue: 42/2023

Fabrics woven with silk yarn were used in the clothing of the palace people and high-ranking people in the Ottoman Period, in the places where they lived. One of the first large factories of the 19th century Ottoman weaving industry, Hereke Fabrika-i Hümayunu was established during the reign of Sultan Abdülmecit. Hereke Factory, which was established by Dadyan brothers in Hereke town, was put into operation in 1843. Hereke Factory started to work on behalf of the palace in 1845, after being granted to the sultan. Silk fabrics produced for upholstery and drapery in Ottoman palaces and mansions were woven in Hereke Fabrika-i Hümayun. Jacquard looms were brought to Hereke Factory from France in 1850 and the Kemhahane department was opened and work began. Hereke Factory is an important business that makes retail sales, as well as the first establishment, that received great awards in the international arena with its products. In 1902, broadcloth, serge and yarn departments, woolen weaving in 1905, fez department in 1908, undershirt, wool and silk carpet workshops Hereke It has been added to the factory. Hereke Factory was transferred to Sümerbank management in 1933, to National Palaces in 1995, and to Yıldız Palace today. Silk fabrics woven in the Hereke Factory were presented to the Palace and its environs, as well as to foreign dynasty members and ambassadors, and reached the European palaces. Western influences are seen in the composition of Hereke silk weavings, and 143 different patterns have been identified in these weavings, where orientalism and multicolor are used. Many motifs such as plant and animal motifs, vases, musical instruments, geometric arrangements, Rumi, Chinese cloud can be seen in the patterns on the fabrics. It is produced in velvet fabric as well as silk fabric in Hereke factory. The variety of different weaves and rich colors, also seen in Hereke silk fabrics, the late Ottoman silk fabric collection, impresses the audience. However, in these weavings, which create a strong visual impact, there is no style other than quality. In this context, it is important to investigate and examine these silk weavings in terms of pattern, color and production technique in order to transfer the Hereke silk woven fabric collection, which is one of our cultural assets, to future generations.

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Dönüştürücü, Eleştirel ve Politik Bir Sinemanın İmkânı: Guy Ernest Debord Sineması

Dönüştürücü, Eleştirel ve Politik Bir Sinemanın İmkânı: Guy Ernest Debord Sineması

Author(s): Hale Satıcı / Language(s): Turkish Issue: 15/2023

Is it possible to make a critical, political and transformative cinema that is free from traditional principles of narrative and cinematography? Is it possible to make cinema a political and critical form of action? The possibility of such a cinema is revealed in Guy Ernest Debord's critique of spectacle and the method of detournement. Debord, who is both a theorist and a filmmaker, points to the method of detournement as a political and artistic form of action in the construction of his cinema. According to him, the way out of the spiral of domination that the spectacle spreads through images is possible through political intervention in the artistic field. The detournement method is a powerful tool for such an intervention. Debord states that all reality is reduced to images as an illusion and turned into a spectacle. According to him, mass media and especially cinema are tools that serve the spectacle by reproducing false reality. From this point of view, this study focuses on Guy Ernest Debord's concept and criticism of spectacle as expressed in his theory and his films, each of which is a manifesto in itself. This study focuses on Guy Ernest Debord's life, criticism and cinema based on his theory of the spectacle. The study presents a critical analysis of the spectacle by referring to Debord's films and questions whether the detournement method makes it possible to make a critical, political and transformative cinema.

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Zorbalığın ve Damgalanmanın Sinemasal Suretleri: Bilmemek Filmi

Zorbalığın ve Damgalanmanın Sinemasal Suretleri: Bilmemek Filmi

Author(s): Onur Turgut / Language(s): Turkish Issue: 15/2023

This study examines the manifestations of bullying and stigmatization through the film "Bilmemek" (2019). By focusing on the experiences of the main character, Umut, the representations of bullying and labeling actions are interpreted. Umut, besides the covert oppression he faces from his family, is ostracized and subjected to bullying by his schoolmates due to a photograph with an uncertain fate. He experiences the pain of a wounded identity and marginalized self. In this respect, the film "Bilmemek" is considered a noteworthy example and is analyzed through descriptive and discourse analysis. The indicators of being the "other," social isolation, and labeling due to sexual orientation are attempted to be expressed at the character level. As a result, it is concluded that being subjected to bullying leaves severe damage on the individual and causes irreparable wounds at the character level. The film "Bilmemek" is found to be a competent tool in exemplifying these representations and providing an important example for questioning and fostering empathy.

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Sorry We Missed You Filminde Yabancılaşma: Karl Marx Perspektifinden Bir Değerlendirme

Sorry We Missed You Filminde Yabancılaşma: Karl Marx Perspektifinden Bir Değerlendirme

Author(s): Seda Dilek Göğüş,Hakan Kılınç / Language(s): Turkish Issue: 15/2023

This study examines the movie Sorry We Missed You in the context of Karl Marx's concept of alienation. Known for his films on the working class, Ken Loach presents the exploitative relations of employees and capital owners, the problems arising as a result, loneliness and alienation, in all its reality, in order to create surplus value and ensure its own existence and continuity in the capitalist system. Alienation is a phenomenon that Marx developed by pointing to the capitalist mode of production and has a burning and destructive effect in the social process in which the workers are physically and mentally involved. While developing his arguments about alienation, Marx makes an analysis over the proletariat. However, in this film, which is processed on the precariat example, an order in which alienation is even deeper today is criticized. As a matter of fact, the movie Sorry We Missed You tells the struggle and the process of elementary family trying to cope with the economic difficulties struggling in the whirlpool of capitalism. The issue of alienation, which is visible in such a capitalist order, manifests itself in various forms around different characters throughout the film. Therefore, in this study, the focus will be on the content of the film, the messages given and the theme, rather than the technical elements specific to the film in question.

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The Philosophy of Chaos in Cinema: An Analysis on the Movie Mr. Nobody

The Philosophy of Chaos in Cinema: An Analysis on the Movie Mr. Nobody

Author(s): Yavuz Akyıldız / Language(s): English Issue: 15/2023

This study analyzes the movie Mr. Nobody (Dormael, 2009) within the framework of chaos philosophy, tragedy, and complex storytelling in cinema. The movie takes place in a science fiction universe where humankind has found immortality, in 2092. The main character of the movie, Nemo, is the only and last mortal in this universe. Mr. Nobody is a movie focusing on the different life experiences that could potentially occur, moving through the choice that the main character Nemo had to make as a result of his parents' divorce at the age of nine. Within the scope of the study, besides the philosophical concepts in the content of the movie, it was also discussed how this philosophy was experienced by the audience in a fictional and narrative form. Accordingly, philosophical concepts such as existentialism and modernism that are directly and indirectly mentioned in the film, criticism of modernism, the origins and philosophy of the chaos concept, fractal structures, and phenomena such as the butterfly effect and Lorenz Curves were handled in the context of complex storytelling, which has been used as a narrative technique in cinema since the 1990s, taking into account the editing technique of the film.

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Evaluation Of The Concepts Goodwill and Duty, Considering The Cinematographic Narrative Through The Film “Dept”

Evaluation Of The Concepts Goodwill and Duty, Considering The Cinematographic Narrative Through The Film “Dept”

Author(s): Eda Arısoy / Language(s): English Issue: 15/2023

The intellectual process that cinema reveals with visual and auditory images is unique. While visual and auditory images trigger personal emotions in the audience, they also inflame intellectual activity starting in mind. Concepts, which are the most basic components of the thought system, that provides new expansions. This also encourages performances of contemporary cinema directors and enables the production styles of films to be autonomous. The evolution of the audience's perception of cinema has given rise to a new breed of directors who, through their philosophical approach, engage viewers as intellectual partners in their works. These directors employ a variety of cinematographic elements, resulting in a rich diversity in narrative construction. Interestingly, when filmmakers deviate from the conventional norms by introducing unconventional sound and visual imagery, it can elicit intriguing and stimulating effects. This study embarks on a discussion of goodwill and duty, delving into the common ground between cinema and philosophy, with a specific focus on the film Dept (Borç, Vuslat Saraçoğlu, 2018). Serving as a compelling platform for examining the concepts of goodwill and duty, this film epitomizes the renewed narrative structure of Turkish cinema and provides deep insights from multiple perspectives. The objective of this study is to conduct a film analysis that explores the nature of questioning and approaches these concepts through the narrative power of cinematography. It is crucial to evaluate the boundaries of duties and determine how they intersect with the limits of goodwill is the focal point of the evaluation.

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РЕЖИСЕРСЬКА ТВОРЧІСТЬ У КОНТЕКСТІ ЄВРОПЕЙСЬКИХ КУЛЬТУРНИХ ПРАКТИК ДЕРЖАВНОЇ ПІДТРИМКИ АУДІОВІЗУАЛЬНОГО ВИРОБНИЦТВА ТА ДИСТРИБУЦІЇ

РЕЖИСЕРСЬКА ТВОРЧІСТЬ У КОНТЕКСТІ ЄВРОПЕЙСЬКИХ КУЛЬТУРНИХ ПРАКТИК ДЕРЖАВНОЇ ПІДТРИМКИ АУДІОВІЗУАЛЬНОГО ВИРОБНИЦТВА ТА ДИСТРИБУЦІЇ

Author(s): Galyna Petrivna Pogrebnіak / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to study the European experience of state support for directorial creativity, audiovisual production and distribution, to determine scientific guidelines for the adaptation of optimal foreign models of film and television creativity, which will contribute to the development of the film and television process in Ukraine. Research methodology. In developing the topic, the researcher comprehensively applied the methods of scientific analysis, comparison, and generalisation. Analytical and systematic methods in their unity were involved to consider the art history plane of the problem. The scientific novelty of the research lies in the fact that the director's creativity is investigated in the context of European cultural practices of state support for audiovisual production and distribution and became the subject of a special study for the first time. The appropriateness of using the system method in studying the peculiarities of the European film-making process has been proven. A comprehensive analysis was carried out and the peculiarities of the production and distribution of author's film products in European countries were revealed. Conclusions. The presented in the article data expand the knowledge regarding the specifics of the production and distribution of directorial models of author's films in the European space and enable their use in educational courses, the creation of educational, and methodological literature on the theory and history of cinema and television, directing, and producing.

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ЕСТЕТИКО-ФІЛОСОФСЬКІ ОСНОВИ ТАНЦЮ КОНТЕМПОРАРІ

ЕСТЕТИКО-ФІЛОСОФСЬКІ ОСНОВИ ТАНЦЮ КОНТЕМПОРАРІ

Author(s): Natalia Vladimirovna Fedotova / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to reveal the aesthetic and philosophical foundations of contemporary dance. Research methodology is based on the analysis of scientific sources related to the topic, the application of cultural optics in the clarification of the aesthetic and philosophical foundations of contemporary dance. Scientific novelty. The main approaches of the aesthetic-philosophical foundations of contemporary dance are revealed, and emphasis is placed on consideration of physicality as a specific feature of contemporary dance. Conclusions. Contemporary dance can be qualified as an intellectual choreographic direction, a kind of tool for self-awareness and self-reflection of modern culture. Physicality is a specific feature of contemporary dance, which is due to the desire to establish connections with historical and cultural transformations of the attitude to the human body. The formation of the aesthetic and philosophical foundations of contemporary dance is based on the ideas and approaches of the founders of modern dance. A. Duncan, D. Humphrey, R. Laban, M. Cunningham, J. Skinner, T. Brown, S. Paxton, D. Zambrano, and others are among the choreographers who started new philosophical currents. Philosophical understanding of dance by choreographers consisted in advocating the ideas of a holistic approach in determining the conditions for the fullness of human existence and in effective experiments of fusion of Zen Buddhism and dance. The priority of universal human values and the importance of awareness of one's bodily existence were proclaimed, and the life-affirming meaning of aesthetic culture focused on the need for harmonious development of the individual. Contemporary dance techniques are aimed to develop somatic experience and human physicality, contributing to the formation of a body-oriented philosophy of dance.

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СВІТОВІ СПІЛКИ МОВНИКІВ ЯК ІНСТИТУЦІЇ РОЗВИТКУ ТА ПІДТРИМКИ ТЕЛЕІНДУСТРІЇ У ХХІ СТОЛІТТІ

СВІТОВІ СПІЛКИ МОВНИКІВ ЯК ІНСТИТУЦІЇ РОЗВИТКУ ТА ПІДТРИМКИ ТЕЛЕІНДУСТРІЇ У ХХІ СТОЛІТТІ

Author(s): Igor Pecheranskiy / Language(s): Ukrainian Issue: 1/2023

The purpose of the research is to analyse the missions, key directions, and principles of work of the main world broadcasters’ union as a significant institutional aspect of the TV industry development and audio-visual culture in the XXI century. Methodology of the research. In the article, firstly, a system approach is used to look at the broadcasters’ union as the integral element of the TV and audio-visual industry. Secondly, a principle of the historical neoinstitutionalism is applied, in accordance to which the broadcasters’ unions are accepted as the historically formed structures and institutions that condition the processes of this branch development and support, and the institutional trajectory chosen by them determines the parameters of television discourse today. Scientific novelty of the research. For the first time at the scientific article level, the position and peculiarities of the broadcasters’ unions as the institutional development and support of the TV industry in the XXI century were considered. Conclusions. The significance of the role of the world broadcasters’ unions was emphasized, which in the XXI century remain one of the key subjects and players in the international media market. On the example of such institutions as the European Broadcasting Union, African Union of Broadcasting, Asia-Pacific Broadcasting Union, we have proven that the world broadcasters’ unions remain a powerful tool of influence on the international arena and a driver of the TV and audio-visual industries development at the modern stage. These unions provide normative and technical support of their members, exchange of technologies, programs and innovations, create conditions for learning and cooperation (through conferences, working groups, trainings), international frequency planning and coordination, promote the influence of the TV industry and audiovisual industry on the social-economic development of a region.

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МУЗИЧНО-ПОЕТИЧНА СИМВОЛІКА POÈME DE L’AMOUR ET DE LA MER М. БУШОРА – Е. ШОССОНА

МУЗИЧНО-ПОЕТИЧНА СИМВОЛІКА POÈME DE L’AMOUR ET DE LA MER М. БУШОРА – Е. ШОССОНА

Author(s): Aliona Milanina / Language(s): Ukrainian Issue: 1/2023

The purpose of the work is to decode the symbolism of the vocal cycle «Poème de l'Amour et de la Mer» by E. Chausson based on poems by M. Bouchor. The research methodology consists in the application of semiotic, comparative, historical and biographical, hermeneutic, as well as structural and functional methods. The specified methodological approach allows us to reveal and decode the symbolism of the musical and poetic text of E. Chausson's vocal cycle based on M. Bouchor's poems «Poème de l'Amour et de la Mer». The scientific novelty of the research lies in the perception of the vocal cycle «Poème de l'Amour et de la Mer» by E. Chausson based on the poems by M. Bouchor as a complex symbolic formation intended for the communication of the recorded, meaningful authorial information. Consideration of this work in the semiotic and information space allows us to identify and decode the symbolism of the musical and poetic text of the work as well as to understand the musical universe of the French composer and his version of symbolism. Conclusion. Analysis of «Poème de l'Amour et de la Mer» proves that the poetic and musical text of the work is saturated with symbols, the decoding of which helps to immerse into and understand the authors’ ideas most deeply. It can be argued that the vocal cycle is inspired by and based on the symbolism of the poetic text, as well as that the composer's interpretation is as close as possible to the aesthetics of symbolism. E. Chausson’s work seems to evoke memories, he knows how to maintain an imaginary, in modern terms, virtual, deliberately ambiguous world composed only of unique fragments, for that reason, the author is constantly in that word as different figures and possible interpretations, which are his inner need. This freedom and independence of mind, to a certain extent, correspond to the mentality of the Symbolists. «Poème de l'Amour et de la Mer» preserves the already existing cultural and musical frameworks, but E. Chausson adapts them to his own requirements and offers a unique version of symbolism, that is, E. Chausson’s universe develops in two parallels: some testaments of the symbolists persist, but the perceptivity passes through the filter of author's beliefs and sensibility.

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КВАРТЕТ САКСОФОНІВ У СВІТОВІЙ МУЗИЧНІЙ КУЛЬТУРІ ХІХ СТОЛІТТЯ: ВИКОНАВСТВО ТА КОМПОЗИТОРСЬКА ТВОРЧІСТЬ

КВАРТЕТ САКСОФОНІВ У СВІТОВІЙ МУЗИЧНІЙ КУЛЬТУРІ ХІХ СТОЛІТТЯ: ВИКОНАВСТВО ТА КОМПОЗИТОРСЬКА ТВОРЧІСТЬ

Author(s): Bohao Du / Language(s): Ukrainian Issue: 1/2023

The purpose of the proposed article is to determine the peculiarities of the formation of the saxophone quartet in the world musical culture of the 19-th century in the unity of performance and compositional creativity. The research methodology is based on the use of the following methods: textological, source studies, and hermeneutics – when processing musicological and sheet music sources on the chosen topic; systemic-historical, which makes it possible to comprehensively consider the saxophone quartet in the context of the history of the development of world wind art of the 19th century. Special attention was paid to the method of personalisation (scientific biography), which helped to outline the contribution of composers to the formation of the original repertoire for the saxophone quartet of the specified chronological period; analytical – when revealing the immanent features of specific works of the analysed genre. The scientific novelty of the work consists in a comprehensive study of the stage of formation of the saxophone quartet in the world musical culture of the 19th century, outlining the specific genre and style features of the first original compositions for the named ensemble. Conclusions. The saxophone quartet is one of the most popular forms of performance on the named instrument. The prerequisites for its formation were the use of a group of saxophones in wind and military bands. The first saxophone quartet originated in the French musical culture of the 19th century. and by the end of the century it had spread to Europe and America. Usually, saxophone quartets toured together with professional concert groups – P. Gilmore, J.-F. Souza, F. Innes and others. The founders of saxophone ensembles were solo performers themselves, in particular, E. Lefebre. Based on the analytical characteristics of the original works for saxophone quartet by J.-B. Singeli, J. Savarі and С. Florio, their immanent genre-stylistic features are determined, such as the reliance on the structure of the four-part classicist string quartet (Quartet op. 53 by J.-B. Singeli and Quartet for Saxophones by J. Savarі), a combination of different types textures, reliance on romantic harmony and melody of operas by authors of the 19th century.

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УЧАСТЬ СПІВАЧКИ ЗОЇ ГАЙДАЙ У МУЗИЧНИХ КОНКУРСАХ В УМОВАХ РАДЯНСЬКОГО ТОТАЛІТАРИЗМУ 1930-х рр.

УЧАСТЬ СПІВАЧКИ ЗОЇ ГАЙДАЙ У МУЗИЧНИХ КОНКУРСАХ В УМОВАХ РАДЯНСЬКОГО ТОТАЛІТАРИЗМУ 1930-х рр.

Author(s): Olena Katsalap / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to investigate one of the aspects of the professional activity of the Ukrainian singer Zoia Gaidai in the 1930s, namely her participation in music competitions during the establishment of the Soviet totalitarian regime. As part of the research, we aim to show the specifics of their organisation and holding, the scale of those creative events, and their significance for the professional development of the professional singer. The research methodology consists in the application of the source study method to analyse archival documents that contain information about Zoia Gaidai’s participation of in music competitions, as well as to study other materials on the topic of the research. The specifically historical method helps to highlight the socio-political processes against which the music competitions took place. The biobibliographic method enables determining the place of this aspect of the singer’s activity in her creative biography. General scientific methods (analysis, synthesis, generalisation) are applied in order to thoroughly study the issue and draw reasoned conclusions. The scientific novelty of the paper consists in the expansion of information about Z. Gaidai’s creative activity in the 1930s, which was supplemented by her participation in music competitions, in the assessment of the level of these competitions, their specificity and opportunities for the achievement of professional aspirations. Conclusions. The performed analysis and evaluation of the results of Z. Gaidai’s participation in the music competitions of 1933 and 1937 helped to reveal the level of her professional competence and professional aspirations. Despite the challenges of those difficult years, the singer managed to win the laureate title of the All-Ukrainian and All-Union competitions, which had a positive effect on the development of her career as a performer. However, the political situation in the USSR did not contribute to the fruition of the dreams to study in Italy, thereby depriving the Ukrainian artist of the opportunity to improve her professional skills and test her talent on the international stage.

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ТВОРЧА ПОСТАТЬ ВАЛЕРІЯ МАТЮХІНА: ДО 45-РІЧЧЯ СТВОРЕННЯ «КИЇВСЬКОЇ КАМЕРАТИ»

ТВОРЧА ПОСТАТЬ ВАЛЕРІЯ МАТЮХІНА: ДО 45-РІЧЧЯ СТВОРЕННЯ «КИЇВСЬКОЇ КАМЕРАТИ»

Author(s): Andrii Tuchapets / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to obtain information about the history of «Kyiv Camerata» and Valerii Matiukhin ‒ an outstanding Ukrainian pianist, musical and public figure, as well as a conductor, artistic director and general director of this band. The research methodology is based on historical-biographical and historical-cultural methods. The scientific novelty of the proposed article lies in the fact that most of the given information is provided directly «from the first mouth» and for the first time. This mainly concerns to certain episodes of V. Matiukhin’s biography, related to his school and student years, teachers, views on the performance of modern music and the art of conducting. The article is written in a rather atypical format for a scientific presentation, which is based on the direct speech of the main character. His speech is prepared or supplemented by appropriate explanations of the author of the article, made post factum. This is explained by the fact that the author of the article has been working in this band for more than two decades (since April 2001) and knows it, as they say, «from the inside». But since music is, after all, a non-verbal art, that «speaks for itself», over the years quite a lot of questions have been accumulated regarding the history of the orchestra in general and the creative path of V. Matiukhin in particular ‒ questions that have not yet been clarified in musicology. Therefore, on the occasion of the specified anniversary date, we decided to talk with Valerii Oleksandrovych and bring this conversation to the general public Conclusions. The conducted research confirms that V. Matiukhin has a great deal of credit for the success of the «Kyiv Camerata». Most of the band’s prospects appeared due to the magnetism of his personality, based again on deep knowledge and understanding of the essence of his profession, high internal culture and great modesty. That is why, in the process of communication with the Maestro, we once again became convinced that the study of the activities of an outstanding band must begin with the study of the creative figure of V. Matiukhin.

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Wstyd, awanse i literatura francuska

Wstyd, awanse i literatura francuska

Author(s): Wiktoria Tabak / Language(s): Polish Issue: 31/2021

Recenzja trzech spektakli: Końca z Eddym (Teatr Studio) i Halki (Narodowy Stary Teatr) w reżyserii Anny Smolar oraz Powrotu do Reims (Teatr Łaźnia Nowa, Nowy Teatr) w reżyserii Katarzyny Kalwat, w której autorka zastanawia się nad zmianą sposobów reprezentacji klas społecznych w najnowszym polskim teatrze i wskazuje na wyraźną tendencję wśród twórczyń do budowania opowieści na podstawie prywatnych i słabych historii.

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Filmowe siły natury. Odzyskiwanie reprodukcji jako doświadczenia kobiecego

Filmowe siły natury. Odzyskiwanie reprodukcji jako doświadczenia kobiecego

Author(s): Marta Stańczyk / Language(s): Polish Issue: 32/2022

Reprodukcja od zawsze fascynowała twórców filmowych w swojej niedostępnej transgresyjności, a jednocześnie budziła lęk. Od trikowego Artistic Creation (1901) Waltera Bootha po obrazy awangardowe w stylu Window Water Baby Moving (1959) Stana Brakhage’a przez dekady ta narracja była ujarzmiana, a przez to symbolicznie zabierana kobietom. Celem tego artykułu jest przyjrzenie się wątkom reprodukcyjnym w historii filmu, przede wszystkim wczesnego kina i amerykańskiego kina klasycznego, a następnie skontrastowanie ich z filmem Opera Muffo (1958) Agnés Vardy i umiejscowienie go w kontekście współczesnych teorii korporalnych.

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