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This article covers information about the life and career of the Ukrainian opera singer of the 19-th 20-th, vocal teacher –Vera Leonidovna Astafieva. Based on the archival documents of the Central State Archive-Museum of Literature and Art of Ukraine, the facts of the biography of V.L. Astafieva, her stage performance and pedagogical activities have been studied and reconstructed.
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The offensive of the theatrical alternative against the closed artistic space in the canons of the realism of the first post communist decade is carried on through its aesthetic dimension. The alternative attitudes, which are increasingly taking place in the scenic landscape of the Republic of Moldova, urge the artists to look for new models of theater organization, new ways of creating performances, to transcend the boundaries between arts, to discover unconventional spaces for playing. It is worth noting, however, that the aesthetic performances of the first shows in the alternative evolutionary route support the political agenda of the time. The revolution in art and the revolution in society go hand in hand, overcoming the artistic and political censorship.
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In his seminal article “The Artworld“ (1964) Arthur Danto breaks with the neo-wittgensteinian refusal to look for a definition of art, which dominated Anglophone aesthetics in the middle of the 20th century. Turning away from the perceptible properties of artworks, Danto offers a convincing argument for the claim, that artistic theory as well as art history are necessary in order to adequately identify and speak of art. Later developments have led to the formulation of the so called institutional theory of art by the philosopher George Dickie, building on the term “artworld”, the fact notwithstanding that this definition has been refuted. Danto's contribution to art theory has been compared by his successors to a “paradigm shift” in the philosophy of art.
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The article is dedicated to cave drawings from Shakhty and Kurteke sites located in the high mountain areas of the Pamir. The main studies at these sites were carried out by V. A. Ranov in the late 1950s and 1960s of 20th century. The re-documenting of these drawings in 2019 and the processing of the received photographs by DStretch refined the contours and details of some images, important for attribution and subsequent interpretation. These data called into question some of the earlier analogies from rock art of adjoining territories, and also allowed to attract new analogies. On the basis of the analysis of sources, the possible chronological boundaries of the creation of rock drawings in the Eastern Pamir were clarified. It is assumed that images of the Shakhty rock-shelter can be dated within the range of Mesolithic to the Bronze Age. Some of the drawings of the Kurteke may be attributed to the Bronze Age, but this does not preclude an earlier date of the rest of the imagery of the site.
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There are numerous complex scenes, including images of people and deer, among the rock paintings of Northern Europe and Siberia. Some of them can be interpreted as rituals (Alta, Glosa, Surukhtakh-Kaya, etc.). We consider them in the context of the deer cult, which developed in deer hunter societies and survived at a later time. Totemic and cosmological myths were the essence of this cult, they were inextricably linked with rituals — calendrical, which correlated with natural and economic cycles, and liminal, conditioned by the life cycle of people. Archaeological materials and rock paintings of the Mesolithic-Neolithic of Northern Europe and Northern Asia indicate that the cult of the deer played a leading role in the myths and ritual complex. We used the method of ethno-archaeological reconstruction for the interpretations of the compositions. We compared some narratives of rock carvings in Northern Europe and Siberia with totemic rites of the indigenous peoples of the subarctic zone. These ceremonies were supposed to guarantee success in hunting and, at the same time, the reproduction of deer. Imitating deer, creation of models of deer, killing of a sacrificial deer, dismemberment, joint eating and preservation of the remains for further restoration – those were the main elements of the rituals. These ritual actions are reflected in the rock art of Northern Eurasia.
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The article studies peculiar anthropomorphic rock images of the Mongolian Altai, representing some persons in shoulder clothes. The co-authors analyzed the results of their own field studies and published materials from the excavated complexes of the Mongolian Altai, Tibetan petroglyphs and stone sculptures of Xinjiang. They offer an experience of typological research of the “Chemurchek type” anthropomorphic figures, a chronology and semantics of these images, and present their hypothesis about the prototypes of “Chemurchek anthropomorphs” in the cult sculpture of the Bactria–Margiana archaeological complex.
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This article aims to introduce in the scientific circulation some Cucuteni C findings discovered in a sistematic research conducted in 1958 in the Viişoara Mastacăn settlement, which remained, unfortunately unpublished. In this settlement, with one archaeological layer and two habitation levels, which belongs to Cucuteni B1and Cucteni B2 phases, were discovered fragments of type C ceramics that contained graines of limestone, small pebbles, big-grained sand, smashed shereds, particles of ocher and organic materials. The most spread form of type C ceramics from Viişoara-Mastacăn is the so-called crater. As an example we have: vessels used for boiling liquids, tureens and bowls. Also we have, in a smaller proportion, jar vessels, globular vessels, straight-profiled vessels, amphorae, glasses, vessels used as a smoke-house and miniature-vessels. From the variety of decorative techniques used on Cucuteni C pottery we have, besides zoomorphic features, string insertions, which is specific to this type of ceramics, but a/so incisions, striations and alveoles applied alone or in a variety of combinations. On the Cucuteni C pottery from Viişoara-Mastacăn we can find the specific elements of Cucuteni B phase that has analogies in all the other Cucuteni B settlements in the Subcarpathian Moldavian areas.
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One of the valuable Bulgarian musical sources of the 15th century, the so-called Rila musical notes, is in the focus of the article. It is a unique document in teaching on church music during the late-Byzantine period. More than 25 neume signs along with some of their combinations are read in the source and discussed in the study. The basic term used is “quiver in the throat”. It is suggested that the notes were written by Vladislav the Grammarian in Rila monastery when he moved there after 1469. The Rila musical notes reveal a great closeness to two important manuscripts that were in use in the same area, N 928 from the National library in Athens, and N 93 from the National library in Belgrade. The three sources show the efforts of maintaining the church singing on a high level. Some of the most distinguished men of letters took part in the maintaining this level – Vladislav the Grammarian, Nikola the Serb, Isaja the Serb and Dimitar Kantakuzin. The sources discussed are extremely valuable evidence of education in the field of church music in a very tough time when the Balkan Orthodox countries have lost their political freedom and the Christian faith had to be preserved.
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This article discusses two seventeenth-century images in the murals of Bachkovo Monastery refectory. The first, “Virgin Mary in Paradise,” part of the scene “Last Judgement,” is in apse of the eastern wall. The second, “Deesis,” is painted in the abbot’s apse. The placement of the compositions is uncharacteristic for that time and this type of building. It underscores the central place of the image of Virgin Mary in the refectory and the monastery. Among the many meanings of the two figural compositions what stands out is Virgin Mary’s role as Mediatrix. This role of the God’s Mother relates, first, to repentance of liturgy during the Great Fast and, second, the refectory as a place of prayer. Mary as Mediatrix is indirectly related to the ritual “Raising of the Panagia,” performed in the refectory. It glorifies Virgin Mary in the context of the Eucharistic ritual.
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The author wants to introduce us a relief discovered in the roman camp Cǎşeiu (Cluj county) representing the god Iupiter Zbelsurdos, a sincrethic deity who has born from the roman Iupiter and the thracian Zbelsurdos. The author has made another interpretation of this sculpture.
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Les premières épreuves d’organization artistique à Bacău appartient aux peintes Nicu Enea (1897-1960) et Ion Diaconescu (1916-1945), plasticiens qui, en 1937, ont mis le fondament de la première Pinacothèque Municipale. De mai 1960 a été créé le secteur de l’art de Bacău du Musée dép. d’histoire et de l’art de Bacău.
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The study focuses on the biographical drama (or, the biopic) as a critically underestimated, yet popular film genre that tends to portray extraordinary lives and career patterns of famous people. Given the fact that the feature film Bohemian Rhapsody (2018, directed by Bryan Singer, later Dexter Fletcher) has changed the way we think about the economic and cultural potential of biopics entirely, the authors offer an overview of the current scholarly understanding of biographical films and their preferred means of expression. The main objective of the study is to define Bohemian Rhapsody’s narrative structure in light of the conventional genre patterns related to biopics. Acknowledging the movie’s unprecedented global success, the authors work with the assumption that as shown by Bohemian Rhapsody, certain biographical dramas can, in fact, become globally popular, especially if they are able to communicate celebratory life stories of the admired and famous in a manner that corresponds with their target audiences’ expectations. The assumption is addressed via a theoretical reflection on the given topic and through narrative analysis of the biographical drama Bohemian Rhapsody.
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Prima dată l-am cunoscut pe Iulian cînd încă era elev in ultimele clase ale liceului „Petru Rareş“ din Piatra Neamţ...
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Viaţa lui Iulian Antonescu, care ne-a părăsit pentru totdeauna, e un roman, un roman-fluviu.
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Cit şi cum îl vom redescoperi po distinsul om de cultură, de înaltă tiindire şi aleasă simţire IULIAN ANTONESCU, ne vom da seama dacă îi vor fi publicate studiile, discursurile, conferinţele, prelegerile, creaţiile artistice, consideraţii le critice, eseuril e, toate izvorîte din personalitatea sa elevată, avînd plenitudinea omului de ştiinţă, cercetător, istoric, diplomat, filosof, poet, critic de artă şi orator neîntrecut...
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In the Metropolitan Church of Nessebar, in the 16th-century wall paintings, Pope Sylvester is depicted in the south nave between St. Ignatius Theophoros and Sts. Constantine and Helena. The Roman bishop is represented with a triregnum, an insignia that links him to the so-called Donatio Constantini, whose text appears in the 8th century. The paper examines the development of possible image narrative structures, on the one hand, through the place where the bishop and the imperial couple are depicted, creating a compositional unity, and, on the other, in the derivation of historical connections through the symbol of the papal regalia between the Roman bishop and the emperor. Along with this, questions, concerning the transfer of the triregnum as an artistic element through possible patterns of transfers in the Balkan art of the 16th century, are also raised.
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Images of archangels painted in the upper parts of buildings and on structural elements were popular in Christian Nubian painting, as the discoveries made recently in Church SWN.B.V on the citadel in Old Dongola have shown. These images, which derive from pre-Christian art, depict the eternal nature of the archangels and angels. Presenting a select group of images, the author traces their origins in an effort to highlight the role of archangels as intermediaries between God and mankind. As spiritual beings they move freely between the Heavens and the Earth, making air and cosmic space their natural surroundings. Moreover, archangels govern the forces of nature, the planets, and the seven skies. Therefore, their sanctuaries were located on hill summits, in the upper chapels, on structural elements of ecclesiastical buildings, etc. The Nubian tradition is therefore part of a broader Mediterranean tradition, the roots of which should be sought in the Near East.
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The rock art discovered in the 1980s and 1990s by the Dakhleh Oasis Project Petroglyph Unit is for the most part unpublished or only briefly mentioned in reports. The paper— the first of a planned series—offers a description and brief comparative study of a petroglyph showing a woman with a plait and-disk hairstyle, found in the southeastern part of the oasis. The contextual information given for the petroglyph includes a description of the site. Selected features of the petroglyph are discussed. A comparative study of the decoration of nearly 30 tombs, containing figures with similarly rendered hairstyles, helps to explain the various attributes of the petroglyph and discuss its chronology.
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The article presents an analysis of the iconography of two convent seals of Lubiąż made in the first half of the fourteenth century and the sources of inspiration for the seal images. Then, it indicates the probable reasons for the exchange of the seal matrices between 1341 and 1343. Attention is also paid to the authorship of the convent seals of Lubiąż.
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In this paper, I would like to systematize possible areas, disciplines, and practices that deal with sound and ecology. Also, I would like to research their potential in solving global environmental and sonic problems. I would explore this topic with the idea of following the genesis and continuity of the development of ecological thought and practice concerning sound and music: from the concept of acoustic ecology, as a key one, which since the 1970s has brought to the fore the question of the relationship between sound and the environment, i.e., sound in the environment, through other disciplines based on critical thinking about the relation between sound and current environmental problems.
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