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A székely falusi társadalom közösségi színtere

A székely falusi társadalom közösségi színtere

Author(s): Petra Balaton / Language(s): Hungarian Issue: 2/2012

The Minister of Agriculture, Ignác Darányi (1895–1903 and 1906–1910) inaugurated a uniform economic development programme, the so-called aid actions, to supply the underdeveloped regions with governmental support aiming at the whole mountain range of the Carpathian Mountains. The secondary level specialised institutes obtaining regular tasks by the 1910’s, wanted to eliminate the underdeveloped economic methods by their wide development programmes, thus created social security and peace for the nationalities.. The Székely (Transsylvanian) development programme of the economy between 1902 and 1914 created important artefacts, the so-called folk houses (cooperative houses), in close relationship with the social organisation, the development of the smallholder circles and the network of the cooperatives. About the quarter of the more than 70 buildings were planned by Ede Thoroczkai Wigand (1870–1945), one of the most important figures of the Hungarian architecture, prominent architect and artist of the Hungarian Art Nouveau. The network of the institutes working for the modernisation of the villages and the development of the countryside also played an important role in maintaining the architectural features of the countryside.

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ΓΕΩΒΙΤΖAΣ ΠΙΣΤOΣ ΚPAΛΗΣ ΤΟΥPΚIΑΣ

ΓΕΩΒΙΤΖAΣ ΠΙΣΤOΣ ΚPAΛΗΣ ΤΟΥPΚIΑΣ

Author(s): Iván Uhrman / Language(s): Hungarian Issue: 2/2013

The date of the lower part of the Holy Crown of Hungary (the so-called Corona Graeca) was settled on the bases of the enamel portrait of Michael Dukas VII, Emperor of Byzantium for a long time. So the neighbouring enamel portrait (according to its inscription ‘Geōbitzas, the firm/faithful King of Turkia’) was identified as Gēza I, King of Hungary, the contemporary of Michael VII. But nowadays it is clear that the portrait of Michael was fixed on forcibly afterwards. So the identity of Geōbitzas can be called in question, too. In the secondary literature of the last two decades there were two concepts about him. The first hypothesis was that of László Holler, according to which Geōbitzas and Gēza are different personal names that cannot refer to the same person, Turkia cannot be identified with Hungary, either, and the Greek noun ‘kralēs’ means only a ‘Marquis’ of Byzantium instead of a king. The second one was mine, proposing the identification of Geōbitzas with the ‘elder’ Prince Gēza, the father of King St. Stephen, instead of King Gēza I . In this paper I try to refute Holler’s arguments and prove mine.

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MANIFEST SZTUKI OPIEKI

MANIFEST SZTUKI OPIEKI

Author(s): Mierle Laderman Ukeles / Language(s): Polish Issue: 32/2019

This publication has three parts. The oldest and most important is the manifesto Maintenance Art by Mierle Laderman Ukeles from 1969, in which she discusses the problem of social exclusion in its multiple forms, i.e. exclusion of women from the art world; exclusion of reproductive and care labor etc. It is preceded by the Artist's Introduction from 2014, where she discusses her artwork from the 1970s, conducted in the New York City Department of Sanitation and the Introduction by the Translator, situating the Manifesto and subsequent artistic practice in the theoretical and political context.

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Opis tradycji muzyczno-liturgicznych klasztoru jako próba ocalenia własnego świata w obliczu nieuchronnych przemian

Opis tradycji muzyczno-liturgicznych klasztoru jako próba ocalenia własnego świata w obliczu nieuchronnych przemian

Author(s): Magdalena Walter-Mazur / Language(s): Polish Issue: 52/2018

The subject of the article is the customary of the Benedictine nuns of Lviv, i.e. a text of a memorative and normative character concerning the organization of time in the monastery and, in particular, the manner of celebrating the liturgy and paraliturgical rites on all days of the liturgical year. It contains recommendations on the type of musical setting of particular services on a given day, depending on its liturgical rank, and often shows the original details of the tradition of celebrating a given feast in the Benedictine monastery in Lviv.

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Muzyczne katedry Charlesa Tournemire’a – Deux Fresques Symphoniques Sacrées pour orgue, op. 75 i 76

Muzyczne katedry Charlesa Tournemire’a – Deux Fresques Symphoniques Sacrées pour orgue, op. 75 i 76

Author(s): Bogusław Raba / Language(s): Polish Issue: 53/2019

Dedication of the musical work to the temple has become a peculiar tradition of the French organ music of the turn of the 19th and 20th centuries. For Charles Tournemire, like many artists of that time, this inspiration resulted from the sense of communing with the unusual phenomenon in Western culture. Religious renewal, the emergence of mystical and esoteric trends, and the symbolist idea of the correspondence of the arts stimulated multidimensional interests of artists in the Gothic cathedral. The article examines the relation of artistic correspondence between the works of Tournemire and cathedrals, which he chose as the object of dedication.

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Restitution of Looted Art: What About Access to Justice?

Restitution of Looted Art: What About Access to Justice?

Author(s): Evelien Campfens / Language(s): English Issue: 2/2018

While international conventions clearly establish the rule that misappropriated artefacts should be returned, the situation with respect to losses that predate these conventions is highly fragmented. The question of whose interests are given priority in title disputes that regard such losses – those of the former owner or a new possessor – vary per jurisdiction. Given the fragmented situation, international soft-law instruments promote an ethical approach and alternative dispute resolution (ADR) as a way of filling this “gap”. A lack of transparent neutral procedures to implement and clarify soft-law norms has proven problematic in this regard. The questions raised in this paper are: why is ADR necessary; and what about guarantees in terms of access to justice in such an “ethical” framework?

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JAK POCAŁOWAĆ NIEBO. PROGRAM ESTETYCZNY GYÖRGYA KEPESA W KONTEKŚCIE POWOJENNEGO KRYZYSU ZAUFANIA DO INSTYTUCJI NAUKOWYCH

JAK POCAŁOWAĆ NIEBO. PROGRAM ESTETYCZNY GYÖRGYA KEPESA W KONTEKŚCIE POWOJENNEGO KRYZYSU ZAUFANIA DO INSTYTUCJI NAUKOWYCH

Author(s): Arkadiusz Półtorak / Language(s): Polish Issue: 2/2018

The central aim of this article is to situate the curatorial and artistic practice, ecosophy and aesthetic thought of György Kepes within the political landscape of the cold war United States. Półtorak discusses multiple manifestations of Kepes’ ecological thinking in the 1960s in view of the artist’s pacifist turn, one responding to the complicity of his prior didactic and design-related activities with imperialist politics. György Kepes’ political position in the postwar years is compared to stances embraced by such scientists as Norbert Wiener or Lewis Mumford, who sustained an ambiguous attitude towards their host institutions – embedded within the military-industrial complex – in the cold war years. In the last part of the article Półtorak points at contemporary continuations of Kepes’ ecosophy and the model of cultural practice he proffered in the 1960s.

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Subtelna subwersywność kobiecego ciała w extravaganzach J.R. Planchégo

Subtelna subwersywność kobiecego ciała w extravaganzach J.R. Planchégo

Author(s): Emilia Wieliczko-Paprota / Language(s): Polish Issue: 4/2018

This article takes up the problem of the subversive contents in the extravaganzas of James Robinson Planché, a dramatist and creator of popular theatre in Victorian England. The female body of the extravaganzas is unlike that encountered in bodily visions imposed by the rigorous etiquette of the puritanical society of nineteenth-century England. The analysis is primarily focused on those phenomena wherein the female body is undergoing constant transformation, being contextualized and shaped in accordance with the laws of a dominant culture. It is posited that the extravaganzas created for Easter and Christmas played the role of carnival, that is a time when it was permitted to present the world in reversal, and to speak against the dominant gender discourse.

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Tko to tamo pleše
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Tko to tamo pleše

Author(s): Tena Šarčević / Language(s): Croatian Issue: 1/2019

Elektronička glazba u Hrvatsku je došla na prijelazu u novo tisućljeće. Mase su se oduševile do tada nezamislivim zvukom, partijanere je bilo nemoguće izbrojati, a, kad bi se odvrtila posljednja ploča, tisuće bi ljudi okupirale grad u potrazi za prijevozom doma ili, vjerojatnije, afterom, čineći pokret fizički vidljivim, opipljivim i nezanemarivim i izvan klubova. Jedna od najživopisnijih priča iz toga doba je ona o legendarnom Under City Raveu, održanom u tunelu Grič, prvim gigantskom partiju u Zagrebu. Stvar, organizirana gerilski, izmaknula je kontroli, pa je ljudi bilo toliko da se u tunelu od vlage činilo da pada kiša. [...]

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Proizvodnja slike
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Proizvodnja slike

Author(s): Krešimir Purgar / Language(s): Croatian Issue: 2/2019

Izložba pod naslovom Slikarstvo kao alegorije teorije, koju sam krajem 2016. godine priredio u Muzeju suvremene umjetnosti u Zagrebu, kod dijela stručne javnosti proizvela je negodovanje i prilično negativne komentare. Oni su bili usmjereni ne prema izloženim radovima ili izboru radova nego prema temeljnoj premisi izložbe, a kojom sam predložio da umjetnička djela promotrimo u kontekstu teorije. Tada sam u katalogu izložbe napisao, među ostalim, sljedeće: »Na ovoj izložbi predlažemo zamjenu uloga slike i teksta i upućujemo na dvije naizgled kontradiktorne operacije: ‘čitanje slika’ rječnikom teorije na jednoj strani i ‘gledanje teorije’ u vizualnom kodu na drugoj strani. [...]

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Animacja społecznie zaangażowana. Realizm krytyczny w twórczości Balbiny Bruszewskiej

Animacja społecznie zaangażowana. Realizm krytyczny w twórczości Balbiny Bruszewskiej

Author(s): Dawid Dróżdż / Language(s): Polish Issue: 03/2018

The article focuses on films by Balbina Bruszewska – Polish director who creates socially engaged films. In the paper the author is trying to qualify her movies in the aesthetics of critical realism, which stands in opposition to the capitalist realism prevailing in the mass media. The author proves that the realism in Bruszewska's films consist of presenting social tendencies in reality and focuses on criticizing the prevailing system.

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Мондријан: крај уметности

Мондријан: крај уметности

Author(s): Jean Claude Lebenstein / Language(s): Serbian Issue: 1/2019

Ово издање које ствара оквир за расправу о Мондријановом атељеу, у први мах делује као наставак једног претходног зборника (Атеље Џексона Полока), ако и једно и друго схватимо као два дела шире анкете о сликарском атељеу. Али између ова два атељеа постоји огромна разлика. Једна се књига држи сликара, онога што њихови атељеи значе за сваког од њих, друга је тривијалнија. [...]

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SRPSKI FAŠIZAM I UMETNOST

SRPSKI FAŠIZAM I UMETNOST

Author(s): Bojana Vukotić / Language(s): Serbian Issue: 1-4/1992

Fascist ideology was the most actual historic appereance in the socialise of Europe between the two world wars. All spheres of the life were under its influence, so the culture and the art were maximally used in propaganda purposes, with the aspiration to serve the politic aims. In the undeveloped countries in the Balkans fascist regimes developed under the sponsorship of the greatest fascist powers - Germany and Italy. The basic ideas of fascist ideology were adapted to the Serbian historic and cultural tradition and to the mentality of the patriarchal civilization.

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Otthonteremtés a színészek körében (a 19. század utolsó harmadában)

Otthonteremtés a színészek körében (a 19. század utolsó harmadában)

Author(s): Katalin Ágnes Bartha / Language(s): Hungarian Issue: V/2018

By looking at the career of the well-known Hungarian actress Kornélia Prielle, the study analyzes the elements of 19th century actors’ and actresses’ lifestyle in relation to their homes. The guiding questions include the following: in what lied the importance of having a home for such a well-known actress? Insofar as what one may call her or his home becomes a discursive space, how does the actress’ home connects to one’s professional identity? By reconstructing the home Kornélia Prielle had built and maintained together with her actor husband, Kálmán Szerdahelyi (near the National Theatre in Pest) on the basis of their correspondence and other documents from the era, the conclusions drawn reflect her position within the acting community, as well as her lifestyle and material situation.

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„Dziwna awersja”. O wystawach Schulza

„Dziwna awersja”. O wystawach Schulza

Author(s): Urszula Makowska / Language(s): Polish Issue: 13/2019

The paper sums up and corrects information on the exhibitions in which Schulz took part as well as reconstructs the circumstances under which they were organized. Today we know about ten such exhibitions ordered in series separated by several year-long breaks: 1920-1923, 1930, 1935. His participation in the last show, organized in 1940 by a Soviet institution, cannot be considered fully voluntary. Of the prewar exhibitions only those in Lvov – in 1922 and 1930 at the Society of the Friends of Fine Arts [Towarzystwo Przyjaciół Sztuk Pięknych] and in 1935 on the premises of Union of Polish Artists [Związek Zawodowy Polskich Artystów Plastyków] were noticed by the press, mainly local newspapers. Apparently Schulz, who understood the significance of exhibitions in building one’s artistic biography, did not care much about them. He needed constant support in the selection and evaluation of his works since he was not sure of their value. Probably in the beginning he could count in that respect on his close friends from Drogobych and then those from Lvov. In fact, however, he lived outside the artistic circles and sporadic contacts with other artists did not provide him with necessary inspiration or encouragement to present his works in public. The available records imply that only in 1938, perhaps reinforced by his position in the world of literature, Schulz was ready to plan exhibitions, but not in Lvov and not even in Poland. Exhibitions allowed him also to reach out to other people. They gave him a chance to find an understanding spectator, but also required disclosing oneself. Regardless of their subject matter, drawings are records of the artist’s gestures, i.e. his corporeality. Presenting them in public must have been for Schulz a temptation to tear off his disguise, but it also provoked fear to do so. It was only the graphic art that guaranteed a safe distance between the artist and spectator thanks to the technological processes that separated a single print from the artist’s body. One must remember that most Schulz’s exhibits were the cliché-verres, while practicing other kinds of graphic techniques was his unfulfilled dream. Thus, the sequences of Schulz’s presentations at exhibitions, separated by years of absence, are related to the episodes of his biography, reflecting his attitude toward self-presentation that oscillated between desire and aversion.

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Poslije avangarde
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Poslije avangarde

Author(s): Peter Bürger / Language(s): Croatian Issue: 1-2/2019

»U svakoj epohi mora se pokušati predaju iznova preoteti konformizmu, koji je pokušava nadvladati.«i Konformizam je fenomen bogat facetama. U području odnošenja spram tradicije on se prije svega sastoji u predodžbi da nam je cjelokupnost predaje u svakom trenutku neograničeno dostupna. Predodžba koja u doba interneta kao da zadobiva gotovo već neosporivu plauzibilnost. Svejedno, pratimo li Benjaminovu tezu O pojmu povijesti, ona je zabluda, jer promašuje ono što bavljenje prošlošću čini značajnim za dotičnu sadašnjost: mogućnost da se prepoznamo u njoj. Konformizam ima mnogo lica, jedno od njih je pozitivizam. U literaturi o avangardi neko vrijeme već se može pratiti tendencija da se pojmovno-strateškim zahvatima stvar 0 kojoj se radi dovede do iščezavanja. Postupak se sastoji u tome da se posebnost avangarde neprepoznatljivom učini time da se razlika između djelatno-orijentirane moderne i jednog pokreta koji instituciju umjetnosti radikalno stavlja u pitanje poravna uz pomoć formule »avant-gardes and/or modernism«. No, oduvijek je postojao neodređen pojam koji avangardu izjednačuje s najnovijim razvojem umjetničke moderne. Ali uz to od Teorije avangarde iz 1974. postoji specifičan pojam, koji, naravno, možemo odbiti; ali to bi se moralo dogoditi argumentirano. Formula avantgarde/modernism na njeno mjesto, međutim, stavlja samo semantičko pražnjenje pojma. [...]

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Temporalizacija kao transcendentalna estetika – avangardna, moderna, suvremena
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Temporalizacija kao transcendentalna estetika – avangardna, moderna, suvremena

Author(s): Peter Osborne / Language(s): Croatian Issue: 1-2/2019

»Estetika i politika« su skupna - prečesto, zadana tema na međunarodnim konferencijama i simpozijima više od trideset godina, otkako je ta rubrika popularizirana kao okvir za skupne rasprave koje su započele 1930-ih u Njemačkoj. Vraća se svake godine, kao neka intelektualna druga priroda, obodrena neuspjehom u svijetu da se prevladaju suprotnosti o kojima se tu teoretizira: ekspresija i znanje, forma i privrženost, umjetnost i neumjetnost, umjetnost i život. Ove rasprave u isti mah potiču i blokiraju. Održavajući neovisne diskurse o estetici i politici živima, na maksimumu, pomoću kontradikcija koje su smislile, u naizgled beskonačnoj reprodukciji ovih suprotnosti zamišlja se nekakva dinamična stagnacija u središtu društvenih odnosa samih kapitalističkih društava: temporalnost »proširene reprodukcije« Istodobno refleksija i reakcija na ovo stanje, suprotnost između estetike i politike funkcionira tobože transcendentno, kao historijsko a priori i kao takva proizvodi svojevrsno estetičko-političko stanje - nekakvo intelektualno ublažavanje iritacije robnom kulturom. [...]

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»Lažan privid totaliteta nestaje«: Proces Orsona Wellesa i Benjaminova alegorijska slika
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»Lažan privid totaliteta nestaje«: Proces Orsona Wellesa i Benjaminova alegorijska slika

Author(s): Julian Koch / Language(s): Croatian Issue: 1-2/2019

Na jednom mjestu Walter Benjamin (2005) u vezi Franza Kafke rekao je da se »nijedan pisac nije tako točno držao onoga: ‘Ne smiješ učiniti sliku sebe’« (str. 808). Ako prihvatimo Benjaminov sud o Kafki, onda bi pokušaj da se Kafkino djelo Proces prikaže u formi pokretnih slika, kao što je to učinio Orson Welles u svojoj adaptaciji Procesa, ukazivao na suštinsko nerazumijevanje Kafki na djela. Međutim, ako ostanemo na ovome, ne samo da bismo zakinuli Wellesovu adaptaciju, već i bitne nijanse u Benjaminovoj izjavi sadržane u teoriji jezika, kao i sliku iz ranijeg teksta koja je razvidna u njegovom čitanju Kafke. Druga zapovijed stipulira nemogućnost pozitivnog prikazivanja Boga, a svi pokušaji vizualnog opisivanja totaliteta njegova postojanja bile bi puke obmane. Ovo pomanjkanje smislenog totaliteta opisano u Kafkinom djelu, omogućilo je Benjaminu da kaže kako je Kafka poštivao drugu zapovijed (čini se da je Benjamin također govorio 0 odbacivanju »estetičke totalizacije slike« [Menninghaus, 1985, str. 159]). [...]

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УВОД У ИСТОРИЈУ СОЦИОЛОГИЈЕ КУЛТУРЕ И УМЕТНОСТИ У СРБИЈИ

УВОД У ИСТОРИЈУ СОЦИОЛОГИЈЕ КУЛТУРЕ И УМЕТНОСТИ У СРБИЈИ

Author(s): Miloš Nemanjić / Language(s): Serbian Issue: Sp. Iss/2012

If the text of Mirko Kosic Sociology, published in 1912 in the journal Chronicle of the Serbian Matica, reason for organizing this Symposium, and the establishment of the group for Sociology in 1959 at the Faculty of Philosophy in Belgrade in establishing academic sociology in Serbia, then traces the constitution of special sociologies, especially those such as sociology of culture, should be sought in the space between the two volumes, the impact of the intersection of different disciplines, philosophy, history, literature, art, history, religion etc. As a teaching discipline appears in the curriculum at the department of sociology but in 1963 and the first journal of theory and sociology of culture Culture was published in the year of 1968, only one year after the establishment of the Institute for the Study of Cultural Development, the first specialized research facilities of its kind in Serbia.

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Review: Beyond Eastern Noir: Reimagining Russia and Eastern Europe in Nordic Cinemas

Review: Beyond Eastern Noir: Reimagining Russia and Eastern Europe in Nordic Cinemas

Author(s): Dirk Hoyer / Language(s): English Issue: 6/2018

The review of: Anna Estera Mrozewicz, Beyond Eastern Noir: Reimagining Russia and Eastern Europe in Nordic Cinemas, Edinburgh: Edinburgh University Press, 2018, ISBN 978-1-4744-1810-2, 230 pp.

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