Kırgız Tiyatrosunda Kadının Varoluşu (1920-1990)

Author(s): Gökcan Çelik / Language(s): Turkish Issue: Spec. Iss./2023

According to historical sources, theater is a genre that was introduced into the life of the Kyrgyz people by the state itself after the 1917 October Revolution. The aim was to adopt the socialist ideology of the Soviet Union to a society with a low literacy rate, not through a long-term process such as education, but with a tool that both entertains and teaches. The aim of this study is to briefly touch on the theater history of the Kyrgyz people and to examine in detail the multiple identities of women as individuals in the theater texts of the period. In this context, the main plays that were staged in theaters from the beginning of the Kyrgyz theater until 1990, when the Soviet Union was officially disintegrated, focus on the main problems of Kyrgyz women and include women's types that changed in parallel with the conditions of the period, were examined. Thus, the texture of women's types in the Kyrgyz theater between the years 1920-1990 will be revealed in addition to examining, how the October Revolution affected the Kyrgyz society and family structure, how the Soviet Government handled the women's issue in line with its own ideology, and what changes were made in the place and importance of the Kyrgyz woman in society.

TARİHİ KENT DOKUSUNUN KORUNMASINDA GRAFİK TASARIMIN ROLÜ

Author(s): Dide Akdağ Satir / Language(s): Turkish Issue: 105/2023

Another important element as important as the formation of historical texture and culture is the protection of the values. Throughout history, communities have used graphic design elements in their designs in the context of the conditions of the period in order to leave traces of their own culture and to ensure the continuity of their visual identity. Today, graphic design problems created by advertising and promotional practices that develop in parallel with the increasing population have been identified. The role of graphic design will be examined in the design applications on the determined sample historical textures. In this context, the responsibilities of the graphic designer, what needs to be done to provide a sensitive visual communication in accordance with the rules on and around the historical textures in the cities, and the ways of implementation within the scope of advertising, advertisement and promotion rules will be examined through the examples identified. For the city, which forms the basis of everything related to human beings, it is aimed to think from a different perspective with solutions to protect the historical texture within the framework of environmental graphic design. It is aimed to raise awareness about the relationship between the city, design perception and historical texture.

POLITICAL AND SOCIAL REFLECTIONS ON OTTOMAN PAINTING IN THE SECOND CONSTITUTIONAL MONARCHY PERIOD

Author(s): Murat Ateşli / Language(s): English Issue: 109/2023

This article examines the political, social, economic, artistic and cultural developments in the Ottoman Empire during the Second Constitutional Monarchy. In general, Ottoman artists did not focus much on social and political issues in their work during this period, but artists such as Osman Hamdi Bey, Prince Abdülmecid Efendi, Fausto Zonaro, Hüseyin Avni Lifij, İbrahim Çallı, and Mehmet Ruhi Arel were not indifferent to the changes experienced. Artists were interested in the cultural, political, economic and social modernization experiences of the Ottoman rulers and society, but they did not depict these issues with a critical approach in their work. The aim of this research is to identify and interpret the reflections of political and sociocultural developments on works of art during the last years of the reign of Abdülhamid II and the Second Constitutional Monarchy period between 1908 and 1918 when the Committee of Union and Progress was in power. The research is a qualitative study described according to the literature review model. The works of art analyzed in the research are limited to artists and their paintings related to the political, social and cultural developments during Abdülhamid II and the Second Constitutional Monarchy.

CEMAL REŞİT REY’İN BESTECİLİK ÜSLUBUNUN İNCELENMESİ

Author(s): Cem Babacan / Language(s): Turkish Issue: 110/2023

Cemal Reşit Rey (1904-1985), one of the first generation composers in the history of the Republic of Turkey, is an important artist who provided many services as a pianist, orchestra conductor and educator. He helped advance Turkish composition with his works. For this reason, Cemal Reşit Rey and his works are worth examining. With this study, it is aimed to bring a new perspective to Cemal Reşit Rey's works and composition style. When Rey's compositions are examined, four different periods are observed in terms of style and composition technique. He composed a total of 85 known works showing different styles, patterns, forms and musical features. Most of his works consist of symphonies, symphonic poems, suites, rhapsody and concertos.

УКРАЇНСЬКІ ВІДЛУННЯ В ПІСНЯХ Ф. ШОПЕНА

Author(s): Qingqing Ying / Language(s): Ukrainian Issue: 43/2023

The purpose of this study is to identify the Ukrainian-Lithuanian core of the Biedermeier lines of F. Chopin's heritage with a focus on his Songs, which objectively represented a significant component of the achievements of his compositional genius. The research methodology is based on the intonation approach of the Asafiev school in Ukraine and China, which focuses on the common genesis of human musical and speech culture and has been developed in the works of leading Ukrainian scholars, including those of D. Androsova, L. Horelik, O. Markova, O. Muravska, Chinese scholars Liu Binqiang, Ma Wei and many other specialists. The scientific novelty of the work is manifested in the originality of the perspective of cognition of F. Chopin's heritage in the organic reliance of the latter on Ukrainian and Lithuanian sources in the line of A. Mickiewicz's "Lithuanianness", as well as in the fact that for the first time a musicological analysis of the symbolism and semantics of the composer's songs, which he wrote from 1829 to 1847, that is, throughout his creative life, is presented. Conclusions. F. Chopin’s songs declare an essential aspect of the embodiment of the "thoughtfulness" (according to I. Belza) of Chopin's heritage, since they implement the highly artistic European "provincialism" that leads, through the discoveries of J. Lenz and M. Gogol, to verism as a powerful trend in European and world art. The Lithuanian-Ukrainian components of "Sarmatism", which nourished the creative discoveries of F. Chopin's entourage in the persons of A. Mickiewicz, S. Witwizki, B. Zalesski and other artists, promoted independent lines of the composer's artistic development. They differed from his Biedermeier performance and Mazurka culture, as well as from the romantic and protosymbolist achievements that dominate the composer's major forms. F. Chopin's songs constitute a line of creative searches, undervalued by both the author himself and art historians of pro-romantic inclination, which are in the direction of realistic and verist principles – the latter were, apparently, unexpected for the author himself, who did not dare to publish miniatures during his lifetime, which he wrote throughout his life.

TÜRK EDEBİYATINDA PARNASYEN ŞÂİRLERİN BESTELENMİŞ ŞİİRLERİNİN TÜRK MÛSİKÎSİNE YANSIMALARI

Author(s): Semih Okcu / Language(s): Turkish Issue: 43/2023

In this study, which examines the musical elements in line with the images most used by the Parnasian poets in Turkish literature, firstly, information about the Parnassism movement is given and information is given from general to specific about Yahya Kemal Beyatlı and Tevfik Fikret, the representatives of this movement in Turkish literature. Qualitative research method was used in the data collection process of this study, which was created by making use of the interdisciplinary structure of literary and musical arts. After this process, literature review was made and related articles, books, theses and web resources were used. In line with the analysis process of the data obtained, Yahya Kemal Beyatlı has the “sea” image most used by the parnasian movement; his poems “Dün kahkahalar yükseliyorken evinizden, Perestij, Geçmiş Yaz, Ses, Mevsimler, İstinye, Gece, Kar Mûsikîleri, Sessiz, Gemi, Şu kopan fırtınalar ve Süleymâniye’de Bayram sabahı, Dalgın Geceler, Çubuklu Gazeli,” and Tevfik Fikret's Hân-ı Yağmâ, Haluk’un Sesi, Küçük Asker and Çal Meleğim in this study, the reflection form of the poems, which were selected by the random sampling technique named "Special", on the music is discussed. By determining which tunes and by which composers the examined poems were used, the reflection form of the composed poems on the music was analyzed within the framework of composition and lyrics harmony, poet and composer mood harmony, it was aimed to gain new studies for both literature and music fields and to be a reference for interdisciplinary studies. . It has been determined that the composed works analyzed within the scope of the subject, as in the poems of the parnasian poets, are kept in the forefront of art, therefore, they have taken their place in the literature as Classical Turkish Music compositions in general. However, it was determined that the works were created correctly and in parallel with each other in terms of composition and lyrics, as well as poet and composer mood harmony.

EFFECTIVE PERIODS IN THE FORMATION OF THE MUSICAL IDENTITY OF GREEK COMMUNITIES

Author(s): Hakan ARYOL,Elvan Karakoç / Language(s): English Issue: 43/2023

The Anatolian lands, which have hosted numerous civilizations, continue to embrace various traditions, cultures, and music despite the passage of centuries. It is an inevitable result that cultures living in the same region for many years leave traces of themselves and that other societies follow and adopt these traces. The issue of how interactions are embraced at common points and the clarity of the results when investigating their origins have not been fully confirmed. In order to better understand how the interaction between cultures unites at basic points, how it becomes an integral part of their lives, how it affects traditions and music, important points in history must be known. This study aims to examine the Anatolian influence on the formation of Greek music using periodical approaches. The research takes a descriptive approach and employs qualitative research methods, particularly document analysis, by reviewing relevant literature in the field. The study falls under the category of descriptive historical research. Sub-objectives have been set in line with the established goal, encompassing “Music of Ancient Greek and Hellenistic Era,” “Music of Roman Era,” “Music of Byzantine and Christian Era,” “Music of Ottoman Empire,” and “Music of Modern Greek Era.”

SHAIKH HAMDULLAH SCHOOL IN THE ART OF TURKISH CALLIGRAPHY: A CASE STUDY FROM THE METROPOLITAN MUSEUM OF ART

Author(s): Seçil Sever Demir / Language(s): English Issue: 43/2023

The art of calligraphy, also known as "hüsn-i hat" in Islamic culture, involves writing Islamic script in accordance with aesthetic principles. Executed using Arabic letters, this art form emphasizes the aesthetics and meaning of writing. The calligraphers, known as "hattat," adhere to rules to create Imagely pleasing scripts. The essence of calligraphy lies in expressing the aesthetics and essence of writing. Influenced by Islam's emphasis on writing and avoidance of imagery, calligraphy has become one of the most valued forms of Islamic art. This study aims to examine the contributions of the prominent Calligrapher Shaikh Hamdullah (1436-1520), a pioneer of Turkish Calligraphy, to the art through the example of a “thuluth and naskh hadith and poetry panel” Conducted through a literature review, this research delves into the Ottoman calligraphy, aklâm-ı sitte (six scripts), and the Shaikh Hamdullah school, focusing on his muraqqa at the Metropolitan Museum of Art. During the Ottoman era, aklâm-ı sitte styles like thuluth and naskh; muhaqqaq and rihani; tawqi and riq'a, evolved under Hamdullah's influence. His style of naskh calligraphy became the preferred method for transcribing the Quran across the Islamic world, giving rise to the Shaikh Hamdullah School. His contributions encompass Qur'an manuscripts, calligraphic panels, and muraqqas, held in prestigious collections worldwide. The tradition of granting, or certification, has preserved Shaikh's style, allowing his teachings to endure. The discussed artwork, a part of Shaikh's muraqqa album, features thuluth headings and naskh text lines drawn with ink and reed pen on marbled paper. In the work, which represents one of the most ideal example of the thuluth and naskh styles in calligraphy, onyl gold-painted mini flowers and rulers were observed as elements of illumanition.

VSEVOLOD MEYERHOLD VE “BÜYÜK TEMİZLİK” DÖNEMİ

Author(s): Fidan MAMMADOVA / Language(s): Turkish Issue: 43/2023

At the beginning of the 20th century, profound changes occurred in various fields, including theater. Theater discovered another creative entity beyond the playwright - the Director. The Director became the central figure of Theater, which was enriched with new artistic and aesthetic tools of the time. Directors who sensed the demands of their era with creative intuition and aimed to present sufficiently good works of art validated their profession through new reforms. One of these directors is Vsevolod Emilyevich Meyerhold. He is one of the directors who not only influenced but also shaped the face (aura) and visibility of 20th-century Russian theater thought. Meyerhold, with his creatorship of producer (constructivist) stage design and biomechanical acting approach, has a rich creative heritage as a theater director, theorist, actor, and educator. This study discusses Meyerhold's innovations in Russian theater during the period he lived, his stance against Stalin’s “Great Purge” (Stalin Repression) policy, and his approach to the political developments of his time. Meyerhold, one of the victims of the "Great Purge", brought an innovative approach to stage decoration, bringing the stage and the audience together and involving the audience in the stage.

News from the Margins: The Invisible Photographic Heritage of Virgilijus Šonta

Author(s): Agnė Narušytė / Language(s): English Issue: 03+04/2023

The article discusses two controversial series by a celebrated Lithuanian gay photographer, Virgilijus Šonta (1952-1992). The first series, School Is My Home (1980-1983), documented the lives of mentally disabled children at a special school in Šiauliai and thus made them visible in the society that denied their existence. For his series Guys (1983-1986), Šonta photographed gay men, focusing on their bodies, but also composing the images as signs telling secret stories of clandestine gay culture prohibited in the Soviet times.

Curating Industrial Memories in a Museum: An Artistic Approach

Author(s): Linara Dovydaitytė / Language(s): English Issue: 03+04/2023

This article examines the advantages of an artistic approach to collecting and mediating personal memories of contested pasts in a museum. It focuses on the community platform Backup Stories (Mažosios istorijos), founded and curated by the artist Auksė Petrulienė, which has been operating since 2017 at the M. K. Čiurlionis National Museum of Art in Kaunas, Lithuania. Dedicated to the museumification of Soviet and post-Soviet industry through working class testimonies, it is analysed as an example of bringing together memory activism, creative mediation, and critical reflection on the phenomenon of memory. The author argues that Backup Stories helps to reflect on broader issues at the intersection of museums and memory studies, such as the reliability of memory, the problem of the transmission of memory, and the museum’s commitment to its memory communities.

Porządkowanie rzeczy i ludzi. O zaletach etnografii procesu projektowego

Author(s): Krzysztof Janas / Language(s): Polish Issue: 23/2022

The aim of this article is to indicate the benefits that ethnographic exploration of the design process can bring to social design studies. Drawing on the work of authors writing on the basis of pragmatic approaches, science and technology studies (STS), and actor–network theory (ANT), the text analyses design as a socio-technical and situated practice of “ordering things and people” and thus also of negotiating and shaping a common world. The text considers both ethnographic reports, in which researchers have tried to understand and describe how designers work, and a completely different research area – the anthropology of medical practices (in the spirit of ANT, as proposed by Annemarie Mol). The article tries to show that the findings from this field are quite similar to the reflections of ethnographic studies on the design process and offer promising insights for a relational ontology of design that can be studied empirically.

„Proces projektowy” – o podzielaniu doświadczenia społecznego

Author(s): Ewa Klekot / Language(s): Polish Issue: 23/2022

Danish anthropologist Kirsten Hastrup has declared that if “We cannot experience the world from the perspective of others, we can still share their social experience.” My own perspective in the field of design – which involves sharing the social experience of anthropologists in a number of ways – encourages me to offer a phenomenological reflection on the “design process.” My position as an anthropologist and ethnographer combining her research with teaching at a design school has resulted in collaboration with designers in co-taught courses, research projects, exhibitions, and publications. The different pragmatics of ethnography and education have encouraged me to develop tools for a discursive rendering of the processes in which I partake: both for my own research purposes and for designers and design students to use in reflecting on their own activities while working on their projects. “Design process” is an emic, designerly expression, defined by the most prominent writers on the topic. I attempt to reflect on its non-hylemorphic understanding of creativity and its contextualisation within the Ingoldian sense of following the material.

Jak nie-projektantów uczyć projektowania

Author(s): Mariusz Wszołek,Krzysztof Moszczyński,Thomas Lewe / Language(s): Polish Issue: 23/2022

Currently, the system of design education faces the challenge of redefining the possible scope and ways of educating future designers. The complexity of the world around us, both in the technological and geopolitical dimensions, as well as tasks related to climate protection and public health, pose entirely new challenges to the practice of design. A distinctive voice in regard to criticism of design education is the “Future of Design Education” project, which was strengthened by Donald Norman and Paul A. Kirschner’s famous text titled “The Teaching and Learning of Design.” Norman and Kirschner noticed a fundamental deficit in the education of designers in regard to their compatibility with so-called modernity: its complexity and challenges. In addition, the authors pointed to the lack of an interdisciplinary environment of knowledge, competence, and skills in educating future designers. The “Future of Design Education” initiative is an open forum for the exchange of ideas and experiences in design education – its goal is to try to rethink and redesign design education. The mere appearance of such an initiative allows us to draw two conclusions: (1) the design community has noticed deficits in the education system; (2) the design environment is self-reflective when attempting change through design. Design has changed from being goal-oriented to being criterion-oriented – the object of design is no longer the object but its usability, accessibility, or serviceability. In design, the context of products, services, or communication becomes crucial – contemporary education in the field of design should therefore focus on a holistic approach to design methodology and should supplement education with social, technical, economic, and environmental contexts. The design community’s current discussion on redesigning design education seems crucial. However, it is closed to the external perspective – interdisciplinarity, which is emphasised at every step in the theoretical sense, although it is not commonly used in ongoing discussions. The text addresses an even broader issue: teaching design to non-designers, thinking about design as a superior problem-solving competence and seeing designers as moderators and animators of social change.

Partnerstwo z rozsądku. Rola i miejsce nauk społecznych we współczesnym projektowaniu

Author(s): Tomasz Bierkowski / Language(s): Polish Issue: 23/2022

Zobaczyć i doświadczyć. O edukacji wizualnej artystów i projektantów rozmawiają Anna Barlik i Jan Buczek

Author(s): Anna Barlik,Jan Buczek / Language(s): Polish Issue: 23/2022

Przestrzenie wytwarzania i wytwarzanie przestrzeni

Author(s): Jacek Gądecki / Language(s): Polish Issue: 23/2022

This paper deals with Polish creative-workshop spaces. Its aim is to consider whether they can effectively function as third places, that is, as social spaces separated from the home and workplace. At the same time, it is also indicated that – being makerspaces – they themselves co-create the city. An additional goal of the paper is to redefine the concept of creativity in light of research on workshop spaces. This is important especially in the context of urban studies and the promotion of an entrepreneurial approach to cities. The text is based on the results of a quantitative-qualitative research project conducted in selected makerspaces, fab labs, and hackerspaces in Poland.

Selling the Scandinavian Ethos: Principal Marketing Strategies of Nordic Design Brands

Author(s): Anna Wiśnicka / Language(s): English Issue: 23/2022

This text presents and analyses the principal marketing strategies used by Danish, Swedish, and Finnish companies and describes the set of marketing messages characteristic of Scandinavian design brands. The most popular strategies involve geo-recognition, with sociolinguistic mechanisms that influence the names of companies and products and the self-description of brands. The contradictory issues of nobilitation and egalitarianism, which have a pivotal role in the advertising of specific products for different groups of recipients, are addressed. Co-branding, including image collaborations between brands operating in different sectors, and mass media influence (the leading tool of advertisement, through films, series, and TV commercials), are other strategies. Connections are established between design promotion and widely recognisable cultural phenomena, such as hygge or lagom. Analysis reveals that the main marketing strategies characteristic of the design brands of the North revolve around a multitude of connections to Scandinavian heritage and culture.

Stan rzeczy w „Stanie Rzeczy”. Z kuratorkami wystawy „Stan rzeczy”, Grażyną Bastek i Moniką Janisz, rozmawia Romuald Demidenko

Author(s): Romuald Demidenko,Grażyna Bastek,Monika Janisz / Language(s): Polish Issue: 23/2022

Jak elity wymyśliły ludowość

Author(s): Piotr Korduba / Language(s): Polish Issue: 23/2022