Czekając na przebiśniegi. Rozmowa z Piotrem Słowikowskim

Author(s): Agnieszka Barczyk / Language(s): Polish Issue: 3/2015

The article is a transcription of an interview with Piotr Słowikowski – a journalist from Lodz associated for many years with TVP Lodz (one of the regional branches of TVP, Poland’s public television broadcaster). The conversation focuses on the most significant TV programs (individual and series) produced by Słowikowski, as well as figures he considers to be particularly important for various reasons. Overall, it seems difficult to reconcile the prestigious and educational nature of Słowikowski’s productions with the contemporary perception of television as a medium for sensation and entertainment.

Публично благо ли е игралният филм, създаден изцяло или преимуществено с публични средства?

Author(s): Alexander Staikov / Language(s): Bulgarian Issue: 9/2014

Raising this issue is important for several reasons. First of all, settling it would give an answer to the following question: if it is a public good, is then a cost-benefit analysis, which is the main method of studying public financial return, applicable to the fate of a completed movie? Utility is the major criterion in public funds spending, so is it measurable in the case of Bulgarian feature film projects and is there an answer to the question what utility unit is implemented to measure a unit of invested public resource? On the other hand, to what a degree are the methods for allocating public funds consistent with the traditional legal and economical mechanisms for spending public money? Equally important is the question of holding the project’s authors accountable for appropriate spending as well as of the options for an ex post audit by the public institution involved.

Cuteness and aggression in military picturebooks

Author(s): Bettina Kümmerling-Meibauer,Jörg Meibauer / Language(s): English Issue: 3 (34)/2016

As a subspecies of ideologically loaded picture books, this chapter focuses on military picture books. This term encompasses picture books dealing with war and the roles of soldiers. In the first part, taxonomy of military picture books is created which is exemplified by telling examples. The second part focuses on a particular narrative problem of military picture books that is of interest to a cognitive theory of picture books (as pursued by Kümmerling-Meibauer & Meibauer 2013). On the one hand, it is not possible to represent war as a good thing across the board; on the other hand, war is depicted with respect to certain scenarios of self-defense. The narrative solution seems to be that “cute” characters (that is, anthropomorphic animals and vehicles) are introduced who serve as positive military protagonists that have to fight against aggressive characters representing the enemy. In military picture books, there is a contrast between cuteness and aggression that is astonishing when regarding the typical pedagogical demands on the accommodation of picture books to the child’s cognitive abilities.

Gry wideo w perspektywie klasyfikacyjnej teorii sztuki masowej // Noël Carrol kontra ludolodzy

Author(s): Łukasz Androsiuk / Language(s): Polish Issue: 03/2014

Noël Carroll’s classification theory of art mass deserves special attention. First of all, the theory is not merely an arbitrary collection of reflections, associations and metaphors, an occurrence very characteristic in the field of debate concerning mass art, but rather an analytically consistent attempt to provide the answers to questions on the nature of mass art. Therefore, to my mind it is an important attempt for researchers from the field of game studies (regardless of the theory’s eventual success or failure). One of the main reasons behind such a conclusion is that the theory clearly questions (although it does not entirely reject it) the (seemingly obvious) assertion that the narrative computer/video games constitute an integral element of “mass art” which is frequently denied any form of respectability.

İSLAM DİNİNDƏ MƏSCİDLƏRİN MAHİYYƏTİ

Author(s): Şöhrə Yaqub Kəsiri / Language(s): Azerbaijani Issue: 9/2011

Dini memarlıq-əsərlərın arasında məscidlər bəzi nöqteyi-nəzərdən başqa binalara görəcimtiyazlar və xüsusiyyətlərə malikdirlər. Birinci nöqteyi- nəzər, ona məxsus olan müxtəlif dini fəaliyyətlər və davranış ülgülərinin çoxunda bir növ daimilik və sabitlik vardır. Məscid islamı memarlığının mərkəzində qərar tapıb. Həmin məscid onun xidmətində olan inamın şənində olan simvoldur. Başlanğıcda onun simvolik rolu müsəlmanlar tərəfındən alındı və binaya öz səhmini, münasib görünən göstəricilərin yaranmasında yerinə yetirdi ki o cümlədən günbəz, minarə, minbər və s. kimi göstəricilərə işarə etmək olar.

Architecture of Body

Author(s): Veronika Pilátová / Language(s): English Issue: 1/2016

Analogia ad legendum. Funkcja znaczeniowa, użytkowa i kompozycyjna dwóch ambon w kościele oo. Dominikanów w Lublinie

Author(s): Paulina Kluz / Language(s): Polish Issue: 1/2016

The Dominican church in Lublin contains an unusual example of two pulpits in a sacred interior, which are situated vis-à-vis at the rood arch. They were sculpted by Sebastian Zeisl, who, with the aid of his workshop, made the rococo furnishing of the church in the years 1756–1761. The sculptural decoration of the pulpits makes references to their preaching function, as well as to Dominican spirituality. The solution formally seems to have been inspired by the com-positional model of two pulpits on either side of the altar, an elaboration of the symmetrical (stage-like) organization of the sacred interior. The fact that the contractor was familiar with such layout could stem from the impact exerted by local inspiration (e.g. St. Anne’s church in Lubartów) or the artist’s earlier Central European experience, probably including his education among Viennese artists. However, the construction of two Dominican pulpits, both of which were used (none of them is apparent) may indicate that their roles could go beyond merely com-positional ones. It seems that their emergence was influenced by individual needs of the Lublin Dominican monastery, especially their preaching practices. The knowledge gained so far allows us to suspect that the construction of the two pulpits is related to their role in the liturgy, namely the polemical sermons practiced by the Order of Preachers in Lublin.

ХАРАКТЕРИСТИКА ПЕДАГОГІЧНОГО СПІЛКУВАННЯ І ЙОГО ЗНАЧЕННЯ ДЛЯ ФОРМУВАННЯ КОРПОРАТИВНОЇ КУЛЬТУРИ РЕЖИСЕРА

Author(s): Elena Kosinova / Language(s): Ukrainian Issue: 1/2014

Becoming of modern trade education needs creation of social pedagogical terms of future stage-director personality humanizing, because it is argued that artistic professionals are powerful potential of development of our society. Modern science abandons oneself all anymore to the idea, that communication as an objective type of vital functions of every personality, comes forward as an original art, where there are rules, features and secrets. Every specialist must know all these for the activity optimization.Stage-director is one of most difficult, most dynamic professions, we mark – pedagogical professions.Its complexity associates with its high requirements that relate to the director, manager, teacher because of accelerating scientific and technical progress, the growth of information and the considerable costs of mental, psychological energy in creative and educational activities.The role of communication in director's work is great because it has the ability to affect change in the structure and substance of social actors (students) to human socialization, formation of personality.Communication is the process of interconnection and interaction between social entities (groups of persons), where there are the exchange of information, activities, mood, experience, abilities and skills.Among the variety of types of communication we can allocate teacher communication. On our opinion that teacher communication is a particular type of human communication (eg, in comparison with a business, family communication, etc.). It is characterized by common features of communicative interaction, and highly specific, inherent in the educational process.Also we can add to this that the pedagogical dialogue is a form of academic cooperation by optimizing learning and personal development of students. Thus, pedagogical communication is a multifaceted process of establishment and development of communication, understanding and collaboration between teachers and students.On our opinion that it is aimed not only on the interaction of learners for their personal development, but is central to most educational systems for organizations of learning and the formation of the creative skills basis. Thus teacher communication is characterized by at least threefold focus: the academic interaction, students (their current state, promising lines of development) and the subject of learning. At the same time, teacher communication is defined also with triple orientation of its subjects: personal, social and intuitive. SPT, while working with students on the development of a teaching material, always directs its result to all the participants in the audience and, conversely, working with a group affects everyone. Therefore, we can assume that the uniqueness of pedagogical communication, which is a combination of these characteristics, can be expressed in organic combination of elements of student-centered, socially oriented and visually based learning.While teaching communication tasks are given and are implemented, the main goal is to transmit knowledge and encourage learners. A role of pedagogical communication in stage-director work is enormous, as it has the opportunity to influence on the change of structure and essence of social subjects (students), on socialization of human being and its socialization.It is possible to assert that pedagogical communication is one of types of professional communication.There are different points of view on the problem of function of pedagogical communication and determination of its basic goal.In the process of pedagogical communication communicative tasks can be realized – and the main goal is to pass knowledge and induce those, who studies to the corresponding.Thus, the work of teacher interaction is a process where teacher implements and approves own potential strength and ability, and also develops himself. Modern art education needs comprehensively trained teachers and specialists who have professional expertise and know how to express the deep essence of his personality to create optimal social and educational environment for the development of future directors as professionals and for humanizing their personality.Modern artistic education needs the all-round prepared teachers and specialists that have thorough professional knowledge and are able to express deep essence of the personality for creation of optimal social-pedagogical terms for development of future stage-directors as the business professionals and for humanizing of their personality.The level of relationships between students and teachers depends on the effectiveness of training future specialists. It is clear that it can make only the one who has skills, and is able to convey the richness of human culture to the students.Thus, for forming of corporate culture of stage-director the professional activity requires maximal patience, persistence, sequence in actions, fundamentalness, in its connect with tactfulness and flexibility.

Семіотичне значення полілогу мистецтв у камерно-інструментальній творчості українських композиторів кінця XX - початку XXI ст

Author(s): Kravchenko Anastasia / Language(s): Ukrainian Issue: 8/2017

The article investigates the semiotic influence of the art polylogue on the character of modern genre formation processes and the sign-technological universalization of composer vocabulary on the material of Ukrainian chamber music of the late 20th – early 21st centuries. Methodology. In the analysis of the polysemyotic compositional integrity of modern chamber pieces of Ukrainian authors the culturological, semiotic, intermedial, musicological, comparative typological, structural-semantic methods were used. Scientific Novelty. The scientific novelty of this study is formulated in the following positions: for the first time the essence of the phenomenon of art forms interference was defined and its influence on the formation of the polysemyotic compositional integrity of the works of chamber art was characterized; the main principles of organizing the semiotics of musical and non-musical information in the chamber music of Ukrainian composers postmodernists were revealed; the phenomenon of inter-art genre symbiosis in chamber music was investigated; the basic artistic-aesthetic and genre-forming tendencies in modern technical and compositional practice from the standpoint of the semiotic concept of an art polylogue in music were indicated. Conclusions. At the turn of the 20th –21st centuries, the modification of the organological and aesthetic-semantic parameters of ensemble genres is determined by the rapidity of the processes of intersemiological synergy of structural codes, imagery and semantic principles under the influence of the mechanism of the art forms interference. The study of the chamber works by Ukrainian composers at the end of the 20th and the beginning of the 21st centuries allows us to distinguish the semiotics types of the art forms interference that are oriented toward lexical innovations (symbolic interference of musical and non-musical semiotics in the new music's libro-genres) and genre innovations (interference in the plane of inter-art genre symbiosis). The latter implies the appearance of musical variants of genres of literature, fine and non-pictorial kinds of plastic arts (musical novels, legends, mysteries, dialogues, triptychs, paintings, still lifes, sketches, frescoes), as well as intermedial cross-genre junction (sonata-dialogue, sonata-diptych, sonata-extravaganza, film play, cinema-suite). The introduction of these semiotic principles testifies to the universalization of the composer vocabulary, which causes the transformation of the performing technique towards its artistic universalism. The art polylogue determines the direction of the evolution of the principles of genre formation and the structuring of musical material from the elementary to the more perfect – a synergistic combination of elements in intermedial texts, which has a significant influence on the development of the chamber art of Ukraine at the end of the 20th – beginning of the 21st centuries.

Національна традиція у творчості українських шістдесятників: механізми спадкоємності

Author(s): Svitlana Mezinа / Language(s): Ukrainian Issue: 2/2015

The author of the article draws attention to the historical inheritance of the national tradition in the creative works of the representatives of the Ukrainian art movement of the 60-s. The establishment and strengthening of the national tradition in the Ukrainian society was happening wave-like because of the complicated geographical and historical conditions. The periods of the Ukrainian baroque, "Executed renaissance" and the Ukrainian art movement of the 60-s are the peaks in the history of national culture. Artistic avant-garde of the 1960-s became the highest phase of raising and strengthening the national tradition in the Ukrainian art. Its representatives began to revive actively the traditions of the Ukrainian baroque epoch and the period of "Executed renaissance". The methodological base for researching the problem of traditions and innovations in art is the monograph of the art critic Olena Zinkevich "Dynamics of Renewal", in which the researcher analyzes historical correlations of tradition and innovation, builds up the conception of inheritance in art as a complicated dynamic system, defines the channels of inheritance and its genetic, typological and contact connections. Analyzing mentioned by O. Zinkevich connections in the Ukrainian painting, the author draws attention to the fact that the genetic link of the works of the painters of 1960-s is connected with the continuation of traditions of the monumental art school of boychukists, the founder of which was Mykhaylo Boychuk. Young artists of 1920 1930-s oriented on national symbolics, used national particularities of the language of art, appealed to the icon painting traditions of the ancient Rus – Ukraine and to the Byzantine monumental painting. Boychukists combined the newest achievements of the European artistic culture with the artistic qualities of the Ukrainian baroque painting. The base for creative work of painters-monumentalists of the 1960-s was the depiction of the modern human, their internal world, feelings, emotional experience, moods, common to mankind eternal values, mode of life, beauty of the Ukrainian nature with the help of bright symbolics and new expressive possibilities. In music art the men of the 60-s renewed the traditions of the Ukrainian music avant-garde, which lay in the base for creative work by Borys Liatoshinsky. The composer based himself on the Ukrainian folklore and used in his variations of the Ukrainian folk songs intonations of carols and vesniankas, typical intonations of the kozachok and the West-Ukrainian kolomyika and Ukrainian folklore genres formed in the 16–17-th centuries – ballads and historical songs. Composers of the 1960-s synthesized new techniques of composition with the Ukrainian folklore sounding. In the foreground is their interest to the human, nature and their connection, the fight of the Ukrainian people for independence. It is manifested through their using the intonations of ancient bylina tunes, kobza playing, lamentations, historical songs, ballads, the Old Russian monoactions, chants, calendar and ritual, lyrical Ukrainian dances and other genres of folk music. At that time one could observe the combination of the professional and folk music. The men of the 60-s experimented bravely on the genre sphere by means of new techniques of composition, and it resulted in the appearance of polygenre works. Artists synthesized those genres which belonged to one sphere of music art (symphony and concert, cantata and oratorio), combined instrumental and vocal genres, and integrated music into other kinds of art – literature, painting, architecture. This is a bright example of contact connections described by O. Zinkevich. In the cinematograph of the 1960-s artists revived the traditions of the famous film director, the classic of the world cinematograph, Olexandr Dovzhenko, who with the help of his stylistics gave birth to the phenomenon of the Ukrainian poetical cinema, the basic distinctive feature of which was national character. Reproducing in their films Ukrainian customs and rituals, using national clothes, folklore, objects of everyday use, folk songs, theatre, picturesque landscapes of the native land, film directors experimentalized in the sphere of artistic form with the purpose of depicting the inner world of the Ukrainian person, his mentality and national idea. Young artists of the cinematograph of the 60-s years in the 20th century worked actively in a new direction of impressionistic cinema with the depiction of realities of life. This direction was based on the principle of "uninhibited camera", namely putting the camera as a competent participant of actions that turned around its axis, moved together with heroes, constantly changed directions. Revealing the process of inheritance of the national tradition by the avant-garde of the 1960-s is important for realizing the significance of its deep roots that come back to the epoch of the Ukrainian baroque and the period of "Executed renaissance". On the base of analysis of genetic, typological, international and contact connections in painting, music and cinematograph the author has come to the conclusion that revealing the process of inheritance of the national tradition by the avant-garde of the 1960-s, the representatives of which made an explosive art break, is important for realizing the significance of its deep roots that spring from the epoch of the Ukrainian baroque and the period of "Executed renaissance".

BECOMING A VIDEO GAME ARTIST: FROM PORTFOLIO DESIGN TO LANDING THE JOB

Author(s): Anna Hurajová / Language(s): English Issue: 1/2018

Review of: PEARL, J.: Becoming a Video Game Artist: From Portfolio Design to Landing the Job. Boca Raton: CRC Press, Taylor & Francis Group, 2017. 219 p. ISBN 978-1138824935.

UMJETNOST KAO TERAPIJA

Author(s): Ahmet Ibukić / Language(s): Bosnian Issue: 3/2010

Children with special needs are for the first time included in the educational process after the school reform and transfer of primary education into nine year period. Second group consists of children with special needs. Association of parents, children and youth with special needs as a part of their program activities often organize art workshops - Art therapies, in which children are able to artistically express themselves through game methods in a spontaneous and coincidental way. Coordination of eye and hand, “sprinkle, sprinkle” technique, spraying and design of colours and shapes, indeed show that children are full of will and imagination. Emotions and art Emotions lead us and stimulate the activity. Motivation of the pupils can be accomplished through activation of positive emotions. Emotions, excitement, sensitivity, love and artistic feelings are almost always present in children’s artistic creativity. Absence of positive emotions causes decline in the work intensity of blood flow rhythm and breathing, as a part of endocrine system.

„Otiš’o je svak’ ko valja – Rambo Amadeus, Eurovizija i crnogorski turizam“

Author(s): Adriana Sabo / Language(s): Croatian Issue: 3/2013

In this paper, I will focus my attention on the latest song by Rambo Amadeus, titled Euro Neuro, and it’s music video, that are meant to represent Montenegro on the Eurovision song contest. Given the fact that, from the beginning of his career in late 1980’s, the main goal of his musical output was to make fun of the musical mainstream, I would like to shed some light on his decision to enter the aforementioned contest, using theories of media and popular music. I would argue that by deciding to do so, he entered the “world” of mainstream that he, up until recently, mocked. I’m going to analyze musical, textual and visual content of his latest song, and of another song, Glupi hit (Stupid Hit, in which he mocks musical hits), in order to point out that he entered the field of mainstream thanks to some changes in the visual presentation of the song, whilst his music remained the same as is was in, for example Glupi hit.

MÜZİK EĞİTİMİ ANABİLİM DALLARI LİSANS PİYANO EĞİTİMİNDE KULLANILAN ESERLERİN PİYANO ÇALMA DAVRANIŞLARINI DEĞERLENDİRME KRİTERLERİ AÇISINDAN YARIYILLARA GÖRE DAĞILIMI

Author(s): Feyza Sönmezöz / Language(s): Turkish Issue: 1/2014

At the institutions of music education, piano lesson is important in regard to training music teachers of high quality. The piano is an efficient instrument in the fields of ear training, teaching school songs and training students in harmonic analyses. The reason for this is that the piano is one of the most significant instruments which enables one to pass from monophonic to polyphonic sounds with its rich harmony and orchestral capacity. However, a teacher candidate is supposed to be oriented around the technical foundations of piano education thorughout his/her undergraduate education. In this respect, it is of utmost importance that the criteria related to technical issues in the descriptions of piano lessons are to be determined and put in order according to education terms and then, with this order in mind, piano works that are planned to be used are supposed to be divided according to their technical properties. In the study, the scanning model was used. Many documents and records such as printed works, thesis, textbooks, works of music are collected and evaluated through neccessary analyses. At the end of the evaluations, “The Criteria for the Evaluation of Behaviors of Playing Piano in Undergraduate Education at Departments of Music Education” has been introduced. Afterwards, the works which are already made used of at Departments of Music Education have been determined and technical content analysis of these works have been conducted and then “The Division of the Works Used in Piano Education in Undergraduate Level at Departments of Music Education Accordıng to Mıdterms In Terms Of The Criteria for the Evaluation of Behaviors of Playing Piano” has been determined. It is thought that this study is of significance in that findings may help candidate teachers acquire skills that are required in piano education at institutions of music education, enable learners to reach objectives more quickly and easily and in this way lay the foundation for music lessons to taken more efficiently and effectively.

Odsłonić nowe pola kultury: projekt etnografii twórczej i otwierającej

Author(s): Dorota Ogrodzka,Tomasz Rakowski,Ewa Rossal / Language(s): Polish Issue: 3/2017

The text presents methods of capturing the process of creating cultural contents in local and peripheral communities and displaying it in projects implemented by cultural animators, artists, and anthropologicallyoriented social researchers. The methodology developed for this type of research combines the spheres of anthropology and its ‘dense participation’ with simultaneous creative and artistic activity, bringing out the local cultureforming potential. Examples of projects and realizations combining art and ethnography at different levels – from tools through the way they work to the construction of a theoretical field – are listed and described. The text reviews theatrical and/or performative activities undertaken together with communities, local residents, representatives of professional, ethnic and social groups, which offer an opportunity to observe the practices, values and routines characteristic of these groups. The idea of ethnographic conceptualism in contemporary anthropology, understood as a generator of new ethnographic situations, is also discussed, as well as artistic and ethnographic methods which offer new, unique forms of describing social reality.

Przeciągający się początek czy artystyczny „wielki wybuch"? Pytania o oprawę kultu relikwii św. Wojciecha w Gnieźnie około roku 1000

Author(s): Masza Sitek / Language(s): Polish Issue: 15/2015

The numerous hypotheses on the micro- and macro architectural setting of the cult of St Adalberts relics around the year 1000 roughly oscillate between two approaches. On the one hand, scholars draw a picture of increased investment before the Congress of Gniezno or immediately afterwards. As a result, a modest castle church would have been rapidly remodelled into an imposing shrine of the patron saint of the newly established Polish Church province. An opposing view, on the other hand, proposes that there was a quarter of a century of inertia in implementing suitable artistic and functional solutions. The purpose of the present paper is to re-examine the source materials that formed the basis for the proponents of both hypotheses.In the first part of the argument, the author examines the current state of archaeological research, in particular questioning the reconstruction of the earliest phases of the church and St Adalberts grave, which has recently been propagated by Tomasz faniak, a leading specialist in the field. Next, the author evaluates the perspectives provided by the interpretation of written sources, routinely quoted in this context. Analysed were relevant fragments of the Chronicleby Thietmar of Merseburg, of the so-called Passion q/*7egernsee and the third (C) version of the first Life of St Adalbert (known as Vzfa prior). The author did not dwell on the next most-often quoted source, i.e. an extract from the Chronicie o/ the Czechs by Cosmas ofPrague, a topic she had already discussed at length elsewhere (see note 9). There is, however, no clear view of building and artistic undertakings around the turn of the second millennium emerging from these literary sources. Rather, the short mentions encountered in hagiographic and historical texts turn out to be astonishingly flexible when used to corroborate quite disparate opinions. As in the case of architectural relics, also here, their reconcilable views are far from verifiable.At the end, the author expresses her opinion on the attempts at compensating for the lack of documentary evidence with arguments related to the socio-political context of the alleged foundational activities - or the lack thereof - around the year 1000. A mere glimpse at the animated discussion concerning the origins of Polish statehood and Church organisation assures one that the 'historical facts called upon in the discussion boil down to a jigsaw puzzle of contesting, multi-layered hypotheses.The conclusion is: neither of the two hypotheses under discussion can be proved on the basis of the available documentary

Impactul muzicii asupra a tenţiei, atitudinii şi motivaţiei

Author(s): Belal Badarne / Language(s): English Issue: 1/2013

Articolul de faţă relevă rolul muzicii în procesul activizării proceselor psihice, care, la rândul lor, influenţează eficienţa şcolară a elevilor. în acest context, muzica este tratată ca un mod de exprimare a trăirilor, sentimentelor şi a gândurilor elevilor, acest aspect subliniind efectele acesteia asupra creativităţii, percepţiei, cogniţiei şi simţului lor estetic.

Skats uz sievieti Latvijas kino mākslā

Author(s): Inga Pērkone-Redoviča / Language(s): Latvian Issue: 1/2006

The article explores the visual and narrative models of women's images in the Latvian films. The theoretical background is based on classical and feminist film studies, especially on Laura Mulvey's hrestomatic article "Visual Pleasure and Narrative Cinema" (1975), which demonstrated how narrative cinema uses a woman as an object to be looked at, and a man as the subject and the bearer of the look. The most productive period of the Latvian cinema was from 1955 to 1990, the Soviet time, when the official ideology declared the total equality of women and men. Nevertheless, analyzing films from the Soviet period, we can see a highly traditional, patriarchal attitude to women and, in general, the patriarchal order of life. As the case example the Latvian film "The Sonata of the Lake" (Ezera sonāte, 1976) is investigated more in detail, which very typically represents relations between genders in the society, and in the center of the narrative offers the most popular fictional character of the Latvian woman - a woman who devotes her-self to the man sacrificing her freedom for love and life.

THE ACTOR LOST IN TRANSLATION? COMPETENCE VS. PRESENCE IN THE TEACHER-DIRECTOR’S STAGE DIRECTIONS

Author(s): Mihai Filip Odangiu / Language(s): English Issue: 1/2019

This article carries on a research approach started years ago by the author, investigating the necessary conditions for producing a creative environment, favorable for the development of the actor in the acting school. Aspects of the relation between the teacher-director with the student-actor are discussed, and a series of possible interacting means and effects of the orality between the two are revealed.

Reaktivna (ne) arhitektura

Author(s): Isra Tatlić / Language(s): Bosnian Issue: 1/2018

Jedan takav oblik prostornog djelovanja je prisutan u Bihaću, gdje je dosadašnja uloga javnosti bila u pružanju otpora i u osporavanju pojedinačnih privatnih transformacija konteksta (otpor relokaciji gradske galerije, izgradnji hidrocentrale na Uni, te zahtjev za promjenom uvjeta izgradnje BBI centra) [...]