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The image of circus performers has been most interesting and dramatic until the 1950s, when they have been marginalized by the post-war culture, becoming an object of socially committed photography. In 1958, a rookie member of the Magnum photo agency, Bruce Davidson took pictures of the Clyde Beatty Circus in his series The Dwarf, which became emblematic of the subject. Davidson used the devices of photography to show the effect of the costumes, masks and gestures of his protagonist, the dwarf clown, to make him an epitome of an outsider. The psychological and social streaks intertwine, offering an opportunity for a number of various interpretations. Treated in terms of Pierre Bourdieu’s field, habitus and symbolic capital, in terms of their significance these take the place of the sets and numbers, being the personal symbolic capital of circus performers. Through it, in the field of continuous travelling, communal life ad anonymity, habitus is represented: estrangement from the value of material benefits, concealed or exaggerated emotions in communicating, the choreographed use of facial expressions, single-plane communication with the audiences, lack of comprehension of the accomplishments of an artiste.
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Non-formal musical education provided by art/music schools is a relevant scientific field – it significantly contributes to the development of a creative, responsible and open personality and fundamental change in society. It should be noted that the educational process in art/music schools builds on stable and traditional principles, schools have become less attractive and current trends show that the number of pupils has been falling. The research problem was formulated on the basis of the above mentioned reasons. The aim of the paper is to analyse the opinion of art/music school graduates about the educational process and trends there. The topic has not been investigated in Lithuania yet. The research showed that the trends in organising the educational process in art/music schools are mostly affected by the teacher-pupil interactions, the assessment of pupils’ advancement and achievements and the peculiarities of organising public assessment/examinations. The research data could be used aiming to optimize the educational process in art/music schools.
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This study focuses on the reflection of the theme of the Holocaust in selected theatre texts which have appeared on Slovak stages after 1989 (Rastislav Ballek and Martin Kubran’s Tiso, Anna Grusková’s Rabínka [The Rabbi], Viliam Klimáček’s Holokaust [The Holocaust], Elfriede Jelinek’s Rechnitz). By analysing these productions, the author explores the possibilities of the aesthetic representation of a traumatizing past, both at the level of text and stage performance. The artistic coming to terms with the Holocaust is assessed with regard to its socio-political impact on the recipient of the work.
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The article examines the development of the urban concept of "Garden-cities" created by E. Howard, and the reflection of this concept in the Russian architectural projects. The author attempts to reflect the conversion of the "garden-city" concept from the specific characteristics of urban development projects to the metaphor or the title. On the example of the transformation of Omsk in the "garden-city" the author reveals the relationship of the propaganda of "green building" with the landscape gardening management.
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The article traces the changes in everyday practices of production and consumption of amateur photographs at the beginning of the XXIst century. The authors argue that transformations were caused by a massive shift towards use of digital cameras and by rapid development of Web 2.0. As a result, the number of amateur photographs posted in Internet has dramatically increased. This led to criticism resulted in uprising of specific resistance practices. Among the resistance practices are return to film-type cameras and the lomography movement.
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The article considers the ways of Moscow International Film Festival representation rules change in 1960s in «The Soviet Screen» («Sovietski Ekran») magazine pages. The author analyzes the interconnection between the official authorities’ attitude towards the event, and visual and verbal canons of masculinity and femininity in the pages of one of the most popular magazines devoted to the cinema in the Soviet space.
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This paper is an attempt to analyze the threads associated with anti-Semitism in Will Eisner comics books and his struggle against stereotypical treatment of the Jews. The work is divided into two parts. In the first part graphics novels based on the biography of the artist (To the Heart of the Storm and The Name of the Game) are described. The second part is devoted to comics in which he refers to Charles Dickens Oliver Twist (Fagin the Jew) and Protocols of the Elders of Zion (The Plot). -
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Art is demontrative means of measure of dominance of whole of material and moral values that made up through development process of communities. Features of nature people live in, needs of human being and human being nature relations, birth-death reality and after death life beliefs have important roles in formation of culture. In this context, figurative abstraction approach had taken a start in the Archaic periods and this view evolved through several processes and from the by end of XIX. century to nowadays had been produced from different construals by artists, within alignment of human being and nature.
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Production, distribution, and consumption of cinematic violence raises several questions of academic import. Despite a plethora of research studies exploring the nature of screen violence and its effects on viewers, a serious debate on the influence of state machinery on the production of sanitized violence in movies is still wanting. Likewise, Bollywood’s role in advancing the Indian government’s agenda in war and peace times has been paid petite attention in academic discourses dealing with media-state interconnection. This article explores the relevance of Herman and Chomsky’s propaganda model as a framework for analysis and analyzes Bollywood’s movies based on stories of violence in war and peace times. The article discusses the connections with the Indian state apparatus that influences production processes in the Indian film industry by providing financial assistance and applying multifarious political, social, economic, and ideological pressures (filters). The findings suggest that the Bollywood movies support diplomatic initiatives of the Indian government through cinematic narratives of sanitized violence.
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Introduction of cinema to Turkey has gone through a rapider progress than that of printing and cinema has become very popular in Turkey. Cinema has contributed positively to this rapid progress thanks to its nature. It stimulates more than one sense conveying several things at one glance and alternating in between dreams, imagination and life’s realities and therefore it is desired greatly…
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As many researchers claim, we live in the era of intertextual works. The analysis of the 3rd Symphony “Circus Maximus” by the American composer John Corigliano definitely proves this statement. The sym- phony, finished in 2004, had been commissioned by Jerry Junkin – the conductor of the Wind Ensemble and Director of Bands at UT Austin. It is said to be an example of program music. Corigliano’s main purpose was to show connections between the past (Rome Empire) and the contemporary world. The composer notices that animalisation and coerciveness are characteristics of people living in these two eras. The composition consists of eight movements and is written for wind ensemble and percussion. The aim of this article is to show intertext- ual connotations and references present in the composition, such as: allusions, stylization, reminiscences, and memory of genre. In order to achieve this aim, the author used the Mieczysław Tomaszewski’s systematics of music-in-music existence. Moreover, similarities to Gustav Mahler and Charles Ives’ compositions are shown.
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Self-portraits dominate the work of the artist Nikolay Ruschukliev. The text analyses the stages which the genre preferences characteristic for this artist go through in the context of the relationship between self-portrait and the concept of life’s meaning and changes in its content. It also traces how the artist manages to commit to his conscious choice permeating his whole existence to create self-portraits and his reasons for having the "meetings" with himself. It is an attempt to answer questions posed by the paradoxical inverse relationship between the size of the synthesised messages to the world in which the artist lives and his ability to give sincere and honest answers to simple questions addressed to and from his self. Addressed are the issues how the ideologically provoked thresholds in life after filtering are transformed into an act of defence of personal truth, and why that very "self-awareness" is the necessary prerequisite for the achievement of this truth. The idea sustained is that the self-portraits of Nicholay Ruschukliev may be the key to understanding its transformation into genuineness about the world ... whereas the viewer who has touched this world "sinks" in the reflection of their own emotions, feelings, desires and fears.
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Scordatura is a tuning of a string instrument, which is different than the standard one. It has been used for both plucked and string instruments since the 16th century and it was quite popular in the Baroque era, especially in the case of violins. Because of their specific tuning – based on the same intervals – it is possible to distinguish two types of violin scordatura. The first one relates to the situation when all strings are tuned up or down in the same interval relations. Such tuning is still based on fifths, but the pitches are different than using standard tuning, so it is called transpose scordatura. In the second one, each string is tuned up or down in different interval relation, in another direction or even only some of them are tuned in the unusual way. In this case, violin tuning is based on different intervals than fifths, usually on thirds and/or fourths, although sometimes there are three dissimilar intervals (thirds, fourths and fifths). The second type of scordatura was a very popular technique in the Baroque era and its functions were variable. The main of them were allowing to perform figures, which are impossible in standard tuning, especially double-notes and chords (technical aspect), and changing sound qualities of the instrument (sound aspect). It does not mean that scordatura was used only to achieve these goals. For example, it was sometimes used to imitate other instrument. There are certain examples of such a usage of this playing technique in the oldest (1679–1686) part of the collection of manuscripts connected with activity of Canonesses Regular of St Augustine in Wrocław (provenance St Anna in Arena). The scordatura can be found there in seven manuscripts, and in four of them it is possible that composers (or composer?) tried to assimilate the violin sound and/or technique with other instruments, such as viola, lute or trumpet.
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The changed political reality — the establishment of the State Duma in Russia in 1906 — made active a public discussion about a ratio of guarding and liberal elements in business of the state arrangement. The idea of naturalness and «the rule of law» of the autocratic power found unexpected refraction in consciousness of the art elite trying to comprehend the value and functions of new political institute, to understand a measure of its historical correctness. Based on the principles of historicism and system, applying tools of historical-genetic and historical-comparative methods, the author reveals evolution of perception by artists and literature of realities of the Duma practice of 1906—1907. Interest in new state institute in many respects was defined by hopes for civil consent, political and cultural and moral improvement of the Russian life. One of the main functions of the Duma seemed to artists in peacemaking and search of conciliatory line between various political forces and opinions, at unconditional respect for traditions of the Russian statehood, religion, culture. Without denying importance and political importance of new institute, figures of the Russian culture noted such evident qualities of the Duma practice as tendency to a phrase mongering and “theatrical” effects, inability to offer a part of political ambitions for the sake of nation-wide need, the aspiration to approve a policy priority over culture, claims for spiritual one-man management. Moderate conservatives (Octobrists) who could undertake search of balance of interests were slow and shy. The increasing public skepticism concerning opportunities of the State Duma to become the instrument of national reconciliation and consent became a result of the Duma impressions of 1906—1907.
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12th Central and Eastern European Communication and Media Conference (CEECOM 2019), from 19th to 21st June, 2019. The focus of CEECOM 2019 was the strategic and practical aspects of managing communications, thus establishing a wide interdisciplinary foundation for works in the field of communication, media studies and political sciences. The aim of organizations was to bring together a number of scholars with diverse backgrounds to exchange ideas regarding the present and the future of communication endeavors.
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Since October 2010, the Instagram app has provided its users with means of visual communication that previously were reserved for professional photographers. Simultaneously, the Instagram Corporation’s official blog has offered suggestions on how the features of the app could be applied. In this manner, the corporation has established a norm of Instagram use. Norms of technology use, i.e., socially learned ways of behaving and communicating with technology, are well-researched in technology and science studies, but thus far these studies have only included social media, e.g., Instagram, to a minor degree. Furthermore, it remains largely unexplored how these social rules are represented multimodally in discourses about social media technology. Through a critical multimodal discourse analysis, this paper describes how the aforementioned corporate regulative norms on the usage of Instagram were established on the corporate blog from 2010 to 2014. The findings show that the discourse on the blog adjusts its focus. Initially, it dealt with correctional tools for the app, but it then progressed into presenting tools for experimental visual expression. At the same time, the blog confines the experimental uses of the application and, thereby, the possible perception of what entertaining imagery is. This way, the study demonstrates how the Instagram Corporation seeks to regulate the use of the app.
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The instrumental Macedonian ethnopop music is particularly interesting phenomenon because of its development and prolonged existence in conditions with persistent internal influences of the social and economic environment, but also external influences from the neighboring and distant music cultures. These influences have determined the way of the creation of this music and its final musical products. Regarding the fact that the instrumental Macedonian ethnopop music had its peak especially in the 1980ties, the subject of interest in this paper will be the musical pieces from the mentioned period. Also, a special at¬tention will be dedicated to the creativity, in other words to the process of creation of the instrumental Macedonian ethnopop music and the reproductive process of this music. The conclusions will be based on the analysis of the music characteristics of the recorded material which forms the database of the sample of 100 music pieces.
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This article looks for an answer to the questions how specific media and musical texts and figures (scripts, shows, songs, singers, hosts) are perceived by the audience, i.e. reception. How power narratives, reflected in media and music, and power media practices take on a life of their own, outside of media context and channels from top to bottom – folklorization. How low media-musical idioms, which can be in dissonance with the official ones, flourish from the bottom to the top. Several cases related to the media reception of folk singers (Petkana Zaharieva, Mita Stoycheva, Gyurga Pindzhurovа) and their newly created songs are considered.
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