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Review of: Сергей Ушакин. “Медиум для масс – сознание через глаз: фотомонтаж и опти-ческий поворот в раннесоветской России. М.”: Музей современного искусства «Гараж», 2020. 328 с. ISBN 9785990971714.
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Purpose of Article. To collect and research information on the musical culture of the High Middle Ages (c. 1001-1300) and the Late Middle Ages (c. 1301-1500), Middle Ages in the westernmost historical Ukrainian ethnic territory, which is now a part of Poland - Przemysl’s land. Methodology. То apply general scientific objectivity principle, historical and logical, analytical approach and methods of cultural studies. Such methodological approach allows to disclose the limits of the main stages of Przemysl land musical culture development, to determine their specificity and regularity of the transformation specificity. Scientific Novelty. To expand a notion on the musical heritage of Ukraine and Ukrainians in a specific ethnocultural region and, thus, to include the certain knowledge in general, all-Ukrainian musicological discourse. Conclusions. In the result of the research it was defined that due to the Ukrainian discourse a history of the musical culture of these lands appears in new light and obtains novel meanings. We know a little about the musical culture of the Przemysl region in the XI and XIV centuries like any other regions of Kievan Rus. We know about next historical period almost exclusively under the sign of the Catholic musical culture, because the Southern part of the Principality of Galicia-Volhynia was annexed to the Polish Kingdom. Due to the own opinion, it is necessary to implement the idea of creative contribution into the Ukrainian musicology which has revealed a prominent role of Ukrainian musicians (Ruthenians) to the church musical culture of the Latin rite, in particular, in the XV century on the Przemysl and Sanok lands. A similar rethinking took place among the Ukrainian literary critics, who called this phenomenon as Latin-language Ukrainian literature. Also, this period is marked by the saved information concerning the existence of secular urban and traveling musicians in Przemysl and other cities. There is a markable fact that claims about German-origin musicians who have been colonists on the particular lands. In general, sometimes professional musicians gave an opportunity to the talented Ruthenian youth to make a dizzying career, as it happened with Gregorius Sanoceus.
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In the proposed text is sought to answer the question of whether and when we can talk about serialization in the international information flow. An attempt has been made for some systematization of the possible types of serialization, among which the anniversaries stand out. There are two major branches – the traditional serialization and the one generated by the possibilities of new technologies. The example with the ‘Tiananmen Papers’ is considered in more detail. It is also worth noting the borrowing serialization, shown in two examples of connecting processes in the present with such from the recent or very distant past.
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The article focuses on the personality in the art of the digital age, using the Scandinavian TV series Skam as an example. Our object of study is the way in which the successful teen series "Shame" builds its characters. "Skam" is based on the lives of teenagers and each season revolves around a different character. The series follows the daily lives of the characters and their problems through social media profiles. All the main characters have their own profiles on various social media and thus viewers participate in "live" communication with fictional characters, as if they were real people. The focus of the study is on the role of the individual in the modern digital age, viewed through mystified images. The report examines the specifics of character building and its contribution to the international success of the series.
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The purpose of the article is devoted to the characterization of the interaction and intersection of art practices and business, the analysis of artistic activities in existing business structures, and the expansion of tools for building a new paradigm in the system of "art-business". The methodology is based on structural-functional and system analysis, statistical method, which consists in finding and studying new knowledge, interdisciplinary approach, which involves the study of issues in the interaction of art practices and existing business systems. The scientific novelty of the work is that for the first time a practical study was conducted on the impact of art practices on the business structure and analyzed the artistic properties that can form new economic and artistic values and interests. Conclusions. The issue of interaction between art and business is quite new and is just beginning to develop. However, the existing stereotypes that art and business are mutually exclusive positions have already begun to shift and outline new spaces for their interaction. Art in modern society is trying to return to a secularized space because it has properties that are able to strengthen and transform the modern business system, which in global consequences may be reflected in improving the economic condition of Ukraine. Also, a deep and meaningful look at art practices once again convinces the effectiveness not only in the aesthetic and artistic context but also reveals its pragmatic and applied potential in business.
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The colors in art have always influenced the human consciousness through the power of thesymbolism embedded in them from ancient times to the present. Some color values from the past are preserved for a long period of time, while others are transformed with a certain meaning in time, depending on various factors such as religion, cultural traditions, geographical location, etc. In modern times, the symbolic meaning of color is rethought with a new content, often uniting those laws that were once the basis of ancient knowledge.
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The aim of the article is to specify the symbolism of Monsalvat and Valhalla in the chronotop-sacra of the opera myth by R. Wagner ―Lohengrin‖. Research methodology is based on the principles of the mythology opera studies, music onomatology (the study of the mythologized toponymy); intromythological, encyclopaedic (the consideration of a ―new myth‖ as a romantic docta stilo), functional and typological, mythological and symbolic types of analysis. Scientific novelty. An attempt is made at revealing the characteristic aspects of functioning of the mythologized oronyms in the chronotop-sacra. Instead of the mythologized oronym Valhalla in Ortrud‘s ―prayer‖, the proper names of the former rulers of the German-Scandinavian world are introduced, which contain a hidden plot of the sacred mountain of the old world. Valhalla and Monsalvat had similar functions in different historical epochs (the world mountain of resurrection, a castle with a sacred hall, a lodging of celestial warriors of light), providing them the meaning of semantic twins. Christianization has caused the displacement of pagan mythology outside the sacral chronotop: in one mythological picture of the world there is no place for two sacred objects whose functions coincide. Valhalla, having taken an underground locus, turns into the rival of Monsalvat. The opera transmythology of ―Lohengrin‖ is based on the unification of mythologized stories of Valhalla and Monsalvat in the plot unity. Their confrontation is considered as the battle of Wunder and Zauber, an important role in the development of which has a mythologeme-image of the enchanted knight. The introduction of the name of Parsifal contributes to the addition of plot analogies with Klingsor – the castle-mountain, the embodiment of Zauber, another rival of Monsalvat from the last Wagner‘s opera. The time of the development of the action of ―Lohengrin‖ is considered as the day of the destroyed Klingsor. Conclusions. The theme of the confrontation between light and darkness often translates into the mythologeme ―magic mountain‖ through the composer‘s usage. The symbolism of Monsalvat and Valhalla in the musical drama is identified through the usage of mythology opera studies as an art based on the synthesis of the basic principles of mythology and opera studies, the application of the fundamentals of musical onomatology, common in both areas of mythologized onomastics: anthropo- and toponymy. Through the symbolism of the explicit (Monsalvat) and implicit oronyms (Valhalla and its analogues – Venus the mountain, Klingsor) in the mythologized toponymy operaasmyth there is an elucidation of the insight of confrontation between light and darkness, Christianity and paganism. The drama of the opera is interpreted as a duel of Monsalvat and Valhalla for dominating over the Brabant (Midgard) and Asgard.
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The purpose of the article is to identify the features and patterns of Mykhailo Sapozhnykov artist's creative method and define the role of realistic artworks in symbolist painting of the artist. The research methodology consists in application of system-analytical, formal-stylistic, and semiotic-semantic methods and approaches, which enabled qualitative considering of the specified issues and drawing substantiated conclusions. The scientific novelty of the article is aimed to systematise the important principles of the author's creative method of Mykhailo Sapozhnykov, identifying the main principles of form creation in his symbolist paintings and elucidating the role of painting from the nature. Conclusions. The number of works analysed in the study demonstrated several principles on which the artist tried to build his personal system of form creation. According to the results of current scientific research, the author has been identified three conceptual variants of the transformation of painting material with realistic direction from the nature into a symbolist figurative construction. The importance of works with realistic direction have been proven. The presented auxiliary works, plein air sketches and sketches from the nature, clearly demonstrated that accumulated realistic painting material was the starting point that encouraged the creative imagination of Mykhailo Sapozhnykov.
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The author of the article attempted to analyze the paintings of Polish artist Zdzisław Beksiński (1929—2005), that mainly belonged to the «fantastic » period of his work (1970—1980s). The methodological basis of the work was the set of poststructuralist and deconstructivist approaches proposed by the French philosophers of the 20th century R. Bart, J. Lacan, J. Derrida, and U. Eco; in addition, the author used the psychoanalytic theories of K. Jung and Z. Freud. As the sources of research, except for the pictures of Z. Beksinski, his interview and epistolary heritage: letters to P. Dmohovski (referring to the 1980s and early 2000s), letters to the «friend» (only the friend's name, Andrzej, is known, date back to the late 1960s). The purpose of our work was the analysis and interpretation of paintings by Z. Beksinski containing symbols of power.
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“Idolum” is the inner world, the world of ideas, where the idea is understood as to belong in the subjective, spiritual domain, domain of the fantasies and believes, rationalizations and anticipations. “Idolum” by its meaning is close to “utopia”, because it offers us similar (if not the same!) escapism from the real world. When the reality becomes too complex and overwhelming to be able to face it, we seek escape in our inner worlds; in our inner worlds we also collect and sort facts from the everyday life filtering them to project a new and better outer world. Inspired by the “The Story of Utopia” by Lewis Mumford, this paper summarizes the depictions of the city of Skopje in the theoretical work of architect Zivko Popovski, which from today’s point of view carry the overtone of utopia. We can grade the philosophical stance of Popovski on Skopje and architecture in general as highly humanistic, because it outlines ecology and health, human rights and freedom as the most important among all other systems of our civilization. The main goal of this paper is to precisely and comprehensively draw out the contours of the possible city of Skopje from the idolum of the architect Zivko Popovski and to promote the important ideas for our city as: caring for the city’s naked body (understanding the natural laws of homeland, treatment of river waters, slopes and terraces, green belts, parks), care for the city’s remembrance and the creation of memory landscapes, a necessary set of habits and values of the architects and citizens of Skopje, etc.
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The monastery complexes represent significant cultural-historical and architectural monuments. They represent buildings with characteristic architecture, location and homogeneity and therefore they are all of extraordinary importance from the aspect of several scientific disciplines: history, sociology, theology, literature, fine arts or architecture. As significant spiritual and scripting centers and architectural ensembles that occurred during the periods of development of Byzantine architecture and art, their influence was strongly reflected on the territory of Macedonia, in complementarity with the imprints of Macedonian architecture and fine arts. Because of this, continuous observation and protection of these cultural monuments is necessary, as well as realization of projects for rehabilitation and restoration of sacred and profane buildings in the immediate surroundings, of frescoes, seen from the aspect of space for promotion of culture. Macedonian monasteries are significant representatives of the medieval cultural heritage as well as our medieval art. They were both spiritual and educational centers, sources and witnesses of the maintenance and development of Macedonian Orthodoxy through centuries. They influenced their spirituality on shaping and dispersing the educational and cultural processes through the centuries, and they also radiate today with all their wealth and beauty. In this work we will keep on the monasteries Treskavets and Zrze as scripting and literary centers in which important cultural, literary and spiritual activity were held. For a long period of time, for centuries, a lot of the manuscript books were written, created and kept, for the needs of these monasteries, as well as for other churches and monasteries.
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The article focuses on the life and work of sculptor Mikhail Katz (1889–1964), active in the 1920s and 1960s in Rome, Sweden and Bulgaria. There is no monograph or scientific material to present his essence as an artist. The study focuses on specific monuments, realized in Stockholm, Moscow and Bulgaria - thematic and free sculptures, participated in General art exhibitions at home and abroad, some of which are now owned galleries, museums and private collections, others, unfortunately - destroyed during the shastic terror, and others remain unclear. The article is considered unpublished and hitherto unexplored archival materials - documents, letters, photos.
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The research focuses on the life and creative path of sculptor Stefan Peychev (1897–1976), whose artistic work is still not well known. The name of artist is only mentioned in a local environment at round anniversaries when it is necessary to check the annual draft plan for the relevant period and the institution, who are related to budget expenditures. Even the largest web kept silent, despite the free access. This author deserves attention. His creative attempts, along with the achievements of a host of Bulgarian artists from different periods of our native art are entirely interwoven with and complementary to the overall architecture structure of the Bulgarian fine art, which is an integral part of our national dignity.
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The paper discusses the relations between the sculpture (the artwork) and the environment in the context of Bulgarian sculpture symposium with accent on its spatial and thematic conditions. The lack of thorough analyses, hence of established traditions, practices and experience, makes it a problem of present interest requiring profound exploration. The research broadens the limits of perception and differentiation of open spaces. The modern sculpture is not an isolated piece of art but a particularly behaved part of the environment.The paper analyses real-life examples based on the formal problem in a specific situation.Led out of the exhibition room, the sculpture adopts a new meaning. It is now an artwork in a dynamic interaction with its environment, designed to take its righteous place as a form and an element in a given space. The environment is defined as an organic entity in which different elements are integrated. Analysing and knowing this synthesis would help avoid the purely intuitive positioning of the sculpture in a specific space just as a decoration or another element of an unclear purpose
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The purpose of the article is to analyze the development of sculpture on the territory of Bukovina from the middle of the XX century to the beginning of the XXI century. The methodology of the study includes the complex application of various methods: historical, comparative, biographical, and art historical analysis. The use of the above methods allows us to analyze the progress of fine arts in the region thoroughly. The scientific novelty of the obtained results is in the coverage of artistic processes in Bukovina, which have not been adequately reflected in the scientific literature, the introduction of scientific names of artists, and the analysis of stylistic peculiarities of their works. Conclusions. The study of this topic makes it possible to consider objectively the creative work of sculptors of different generations and different artistic preference, to trace the influence of the socio-political situation of a particular historical period on artistic practices and to identify which world view principles and stylistic tendencies prevail in Bukovinian sculpture during the XX ‒ the beginning of the XXI century. The development of the sculptures in the region from the mid-1940s to the present shows a gradual departure from the traditional for Soviet art thematic direction and illusory realism, depersonalization of the characters, and usage of the common stamps, to works with multilayered content and ambiguity of perception. The search for such masters as Volodymyr Gamal, Ivan Salevych, Svyatoslav Virsta at the beginning of the XXI century determines how the sculpture and fine art of the region will develop in general, moving away from works based on literary plots and recognizable, standardized images and compositional schemes, to the complex content constructed on associations and artistic parallels, postmodernism plastics.
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The text contains a review made within the Public Seminar of the Department of „Radio and Television“, held on November 1, 2022, where Raina Konstantinova, Chair of the Public Council of the Bulgarian National Radio, and Prof. Snezhana Popova presented the new book of Assoc. Prof. D.S. Vyara Angelova „The Socialist Bulgarian Radio (1944-1989)“ (University Press „St. Kliment Ohridski“, 2022). We publish both speeches given at the premiere of the book.
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The article raises the question of musical interpretations in the twentieth century myth of Oedipus. The focus is predominantly on the most symbolically loaded part of the story - the one about father-murder and incest. In this segment the topics of prophecy, knowledge, murder, incest, retribution, exile. Outside of them remains the question of the causal conditionality of the Oedipus paradigm, which is in the prehistory of events and for which two points are valid: it is hidden and manifesting itself requires redemption. From the dozens of stage interpretations the myths of Oedipus comment on those of Igor Stravinsky, George Enescu, Carl Orff and Wolfgang Rome, located chronologically between 1927 and 1987.
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The study presents images of the sky, sun, moon and stars in Christian art from Southwestern Bulgaria. Emphasis is placed on the semantics of the images and the cultural and historical layers in them. The author has studied the connection between the images of the celestial bodies and the beliefs about them from the Bulgarian folk mythology.
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For the last years in Bulgaria there are more and more examples about the capturing of the big media, indecent flirtation between the media, the government and the ruling parties, pressure on editorial content, expulsion of critical journalists in the media periphery. The public space is highly radicalized due to political and economic confrontations. This negative trend is also creating new forms of alternative, opposition journalism, which is even waging a guerrilla war with the powerful political and financial centers. And probably for the first time in Bulgaria we see an opportunity for changing the dominating model – new media platforms seek financial support from the citizens.
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This paper aims to provide insight into several relevant works of prominent researchers who challenge the term ‘contemporary’ trying to understand the time in which we live and the time in which we create. By presenting a comparative study of texts, this article seeks to understand the concept of time and shape (of representation/manifestation) in the context of contemporariness. from different points of view regardless of the perspective chosen in art or philosophy, etc. As a linguistic form, the term ‘contemporary art’ originates from the 20th century. However, in terms of its meaning, art has always been ‘contemporary’ at the time in which it was generated. We can only observe the works of the past as artefacts, with a contemporary point of view, trying to put them in the right place today.
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