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«Темный лик Богородицы у Знаменья» (Икона, перед которой молился Достоевский)

Author(s): Boris Nikolaevich Tikhomirov / Language(s): Russian Issue: 1/2022

Based on a cross-analysis of the memoir testimony of V. V. Timofeeva (O. Pochinkovskaya) and the materials of Dostoevsky’s creative laboratory, the article establishes the fact of the writer’s prayerful veneration of The Sign, the miraculous icon of the Mother of God, located at the St. Petersburg Znamenskaya (Entrance to Jerusalem) Church on Nevsky Prospect, as well as Dostoevsky’s intention (not realized in one of the episodes of the novel “A Raw Youth”) to portray the main character, Arkady Dolgoruky, at prayer before this miraculous image. When commenting on the draft entry of “The Dark Face of the Virgin at the Znamenskaya Church,” it was discovered there were not one, but two venerated icons of the Sign of the Mother of God in the temple on Nevsky Prospect in the 1870s, Both were replicas of the 12th-century miraculous Novgorod icon of the Sign. One of the replicas dates back to 1175 in the church historical literature, the second - to 1744. Based on an analytical review of the information about these two icons, the article substantiates the assumption regarding which of the two icons is mentioned in the drafts of “A Raw Youth,” as well as which one of them was the object of Dostoevsky’s fervent prayer. The current location of one of these icons is indicated.

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Актеры-любители - партнеры Достоевского в постановке комедии Гоголя «Ревизор» (Из дополнений к словарю «Ф. М. Достоевский и его окружение»)

Author(s): Boris Nikolaevich Tikhomirov / Language(s): Russian Issue: 1/2022

The article is devoted to Dostoevsky’s participation as postmaster Shpekin in a charity performance of the comedy by N. V. Gogol “The Inspector,” staged on April 14, 1860 by amateurs in the hall of Maria Ruadze’s house on the Moika embankment near the Polizeisky Bridge. Along with Dostoevsky, 25 amateur actors were engaged in the performance. Their names are known from the showbill published as an appendix to P. I. Weinberg’s memoirs of this event. Dostoevsky interacted with the participants of this production during several rehearsals that began on March 31, 1860, and directly during the performance. However, fewer than half of the participants of this performance are registered in S. V. Belov’s encyclopedic dictionary “F. M. Dostoevsky and his entourage,” and most of them are engaged in stage episodes without Shpekin-Dostoevsky. The article contains biographical data about amateur actors who participated in the production of “The Inspector,” who interacted with Dostoevsky in the collective creative process, went on stage together with him, but who have not been previously mentioned in the biographical literature about the writer.

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Сергей Ушакин. Медиум для масс – сознание через глаз: фотомонтаж и оптический поворот в раннесоветской России. М.

Author(s): Jan Levchenko / Language(s): Russian Issue: 3/2021

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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ISTORICUL TEATRULUI DIN BĂCAU

Author(s): Lucia Antohi / Language(s): Romanian Issue: XXIV/1993

Cette oeuvre prézente revolution historique du théâtre de Bacău dans la premiere part de sa existence par la periode des années 1852—1900.

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Partyzancki model kultury: Białoruska sztuka niezależna od rozpadu ZSRR do dzisiaj

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Partyzancki model kultury: Białoruska sztuka niezależna od rozpadu ZSRR do dzisiaj

Author(s): Artur Klinau / Language(s): Polish Issue: 687/2022

W głównym dziele projektu Ihara Tiszina Lekki ruch partyzancki z 1998 r. mężczyzna z pistoletem maszynowym w dłoni leży na plecach na okrągłym stole w małym pokoju wiejskiego domu. W Białorusi nie było wtedy ani jednej niezależnej galerii. Ale autor nie kapitulował, zastosował partyzanckie taktyki przetrwania.

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Czego chcą od kultury konserwatyści?

Author(s): Jarema Piekutowski / Language(s): Polish Issue: 687/2022

W wypowiedziach moich rozmówców przewija się przekonanie o bojkocie ze strony elit artystycznych, dla których Słowacki i Mickiewicz to „ramota i paździerz”. Ich zdaniem elity uznają naszą kulturę narodową za nudną, odwracają się do niej plecami.

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Appropriations: Competing Modernisms in Transylvanian Railway Architecture, 1930s - 1940s

Author(s): Cristina Purcar,Virgil Pop / Language(s): English Issue: 7/2019

During the interwar period, the North-Western Romanian territory, unified with the Old Kingdom at the end of World War I, remained a battlefield: besides the political and administrative appropriation of the united regions, a symbolic “taking into possession” was very much at stake too. Thereby, public buildings played a prominent role as national-cohesion signifiers. In architecture, nationalism and modernity, while apparently complementary cultural goals, brought forth stylistic dilemmas and debates. Furthermore, the Hungarian annexation of Northern Transylvania between 1940 and 1944 occasioned competing territorial-appropriation discourses, made visible through architectural signifiers as well. While the Paris Peace Treaties returned Northern Transylvania to Romania, public architecture produced immediately before and during World War II reflected re-appropriation discourses through hybrid stylistic choices, idiosyncratically mediating between vernacular sources, Classicism and Modernism.

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Modernism and Changing Historical Context. Case Study of the Former Electric Power Distributor Station of the Hungarian Electrical Grid

Author(s): Levente Szabó / Language(s): English Issue: 7/2019

One of the most relevant topics of the modernist heritage is the changing valuation of the examples that have a strong relationship with the historic surroundings. These variations come not only from different evaluations of the modernist heritage but also from the ever-changing approaches to the heritage. That is why it is worth examining the modernist cases that are directly connected to the historic part of the cities.

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The Aesthetic Component in Early 20th Century Urban Plans of Rijeka

Author(s): Nana Palinić / Language(s): English Issue: 8/2020

The aesthetic component, together with the ethical as well as the technical-functional, is an integral part of the creative process of urban planning – that most complex form of architectural design. Throughout history, it has been more or less present, depending on various factors – the current architectural and artistic theories, natural, social and political context, the aesthetic attitude of the author – architect and planner. Aristotle’s view that cities must be safe but also happy places for their inhabitants, and that urban forms are not only a matter of technology but also of art in the highest and most complete sense, was the basis of architectural ethics and aesthetics, which the creative genius followed and developed through plans, projects and final urban forms – buildings, streets, and squares.

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Picturesque Features in Sir John Soane’s Museum

Author(s): Thomais Kordonouri / Language(s): English Issue: 8/2020

In the 18th century in Europe, aesthetics in architecture were connected to the beauty of nature, ornament, Antiquity and their research. The need of representation and interpretation of the visible reality impelled artists and architects to create sceneries with gradation of light, contrasts and “discovery” of nature. They also started to appreciate the value of ruins and to experiment with creating “temporary ones.” The concept that emerged and incorporated all these features was called “picturesque” and was explored mainly in England, Scotland and Wales. One of the architects that examined this domain to a great extent was the English architect Sir John Soane (1753-1837). In the works and lectures he delivered as a Professor of Architecture at the Royal Academy of Arts, he demonstrated that beautiful architecture is interwoven with Antiquity. This relationship blossomed when Soane created “narratives” in his buildings that represented picturesque landscapes.

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Feeling Colder: Ecology, Aesthetic and the Design of the Man-made Environment in the Early 1970s

Author(s): Manuel Rodrigo de la O Cabrera / Language(s): English Issue: 8/2020

The environmental paradigm has resonated in architecture since we began learning about the magnitude of climate and socioeconomic change and its repercussions on the world. We now know that we have entered a new geological era, the Anthropocene, in which human beings have definitively incorporated themselves as another force shaping the terrestrial ecosystems. Faced with this challenging ecological context, the environmental paradigm in architecture is often presented in relation to designs that are defined in terms of efficiency and sustainability. However, its potential is significantly diminished when limited to this purely instrumental perspective. The ecological challenge not only compels us to seek out correct scientific indicators, but – as Bruno Latour points out – to also question at an existential level, “what does it mean to be morally responsible in the time of the Anthropocene?” In this context, the contribution of art is necessary to bridge the gap, or “the total disconnect between the range, nature, and scale of the phenomenon and the set of emotions, habits of thoughts, and feelings that would be necessary to handle those crises.” This means that the ecological challenge includes the emergence of sensations, and is therefore also an aesthetic problem. In this paper, I will attempt to present the idea of an environmental aesthetic through which architecture finds itself in a position to address this urgency. To do so, I will recall the indisputable power of architecture, in its function as a form of art, to create cultural products with interpretative authority; that is, to provide representative examples in distinguishable and interpretable ways.

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Between Political Agenda and Common Desire: Genealogy of Socialist Dwelling in Postwar Croatia (1945-1960)

Author(s): Sanja Matijević Barčot,Ana Grgić / Language(s): English Issue: 9/2021

“Do spaces have politics?” With this question, raised in the introduction to their acclaimed book Socialist Spaces: Sites of Everyday Life in the Eastern Bloc, historians David Crowley and Susan E. Reid open their research into the interactions between space and politics. Are there any physical and aesthetic characteristics that allow spaces to be classified according to a particular political ideology? In the public urban domain of the Eastern bloc it is fairly easy to detect spaces that, in the context of socialist ideology, answer this question in the affirmative. For the most part these are ceremonial spaces, monuments, people’s palaces, often with recognizable Socialist Realism aesthetic features. However, Crowley and Reid’s book also offers a whole range of examples that demonstrate how ideology permeated those spaces that did not necessarily possess the potential for representation, but rather belonged to the intimate domain of everyday life. Our paper follows this thread, examining the implications that socialist ideology had on the domain of housing in post-war Croatia, which was at that time part of Yugoslavia.

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300 DE ANI DE LA NAȘTEREA BARONULUI SAMUEL VON BRUKENTHAL (26 IULIE 1721 - 9 APRILIE 1803)

Author(s): Gudrun-Liane Ittu / Language(s): Romanian Issue: 1/2021

Three Centuries Since Baron Samuel von Brukenthal was Born (26th of July 1721 - 9th of April 1803). Baron Samuel von Brukenthal was an outstanding personality, a man of great erudition and refined taste, whose political career culminated with the dignity of Governor of Transylvania, a dignity he held between 1777 and 1787. Brukenthal was the only Transylvanian Saxon who enjoyed this great honor. Living for many years abroad, he got acquainted with Viennese cultural patterns he tried to implement in his own country. As a Transylvanian representative of the Enlightenment, Brukenthal became famous through his major creation, the first museum in the South Eastern part of Europe opened in 1790 to connoisseurs and foreign travelers and in 1817 to the large public. His fine art collection comprised about 1100 paintings belonging to the major European art schools. Besides paintings he also had a rich collection of etchings in copper, a library consisting of about 16000 volumes, rare archeological objects, as well as a numismatic collection and one of minerals. But his sphere of interest was much wider, including a large scale of sciences, the educational system, the musical life of Sibiu, the art of gardening.

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LA PARTECIPAZIONE DEGLI ARCHITETTI, SCULTORI E IMPRESARI ITALIANI ALLA COSTRUZIONE DEI MONUMENTI AI CADUTI DELLA GRANDE GUERRA NELLA ROMANIA INTERBELLICA

Author(s): Paolo Tomasella / Language(s): Italian Issue: 1/2021

The Participation of Italian Arhitects, Sculptors and Entrepreneurs in the Construction of the Heroes’ Monuments Fallen in the First World War in Interwar Romania. Seasonal or permanent migration from Italian regions to Romania in the 19th and 20th centuries involved a variable number of unskilled workers but also personalities (artists and sculptors), many Venetians and Friulians, who left clear, tangible evidence, of their stay and the results of their work on the Romanian territory. With the end of the First World War and with the outbreak of Greater Romania, the need to build memorials dedicated to those who fell in the struggles for the unification of the nation was felt throughout the country. Sculptors and entrepreneurs from Veneto and Friuli were among the protagonists of this process of institutionalizing memory. It is worth mentioning, regarding the sculpture, the presence in Romania of the artists Ettore Ferrari and Raffaello Romanelli; the Italian entrepreneurs and stonemasons, Giovanni Battista De Nicolò, Victor and Giovanni Mezzarobba, made a significant contribution to the materialization of the projects to honor the memory of the heroes of the First World War. The artistic and urban involvement of the Italians settled in Romania proved to be important in the construction of public monuments in many cities in Romania. Vincenzo Puschiasis (1874–1941), a sculptor established in Piatra Neamț in 1899, played a special role among the stone carvers of Friulian origin living in Romania. Puschias is established himself in Romania not only locally, but also nationally, through the large number and quality of monuments erected for the Romanian heroes who fell in the First World War. His works are characterized by strength, finesse, elegance, combination of styles and aesthetic harmony. After 1919, Vincenzo Puschias is founded the Construction Company in the County of Neamț, specializing in the construction of memorials dedicated to those who fell in the First World War. Among his most remarkable works in this field are: the funeral complex from the “Eternitatea” Cemetery of Piatra Neamț, made in collaboration with Gheorghe Iconaru; monuments of the heroes erected in Bistricioara, Căciulești, Verșești, Roznov, Bahna, Văleni, Zănești; obelisks in Gârcina, Oanțu, Roznov, Piatra Șoimului, Podoleni; the statue of the hero soldier from Viișoara.

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Influențe și realizări originale ale artei medievale balcanice

Author(s): Duşiţa Ristin / Language(s): Romanian Issue: 2/2014

Our work starts with a discussion of some aspects of the history of culture, with references to the historical events in the evolution of Southeastern Europe art during the Middle Ages. The Medieval Byzantine art in the Balkans is the result of a stable and fruitful contact of the stylistic influences and intersections of the knowledge of South Slavic, Romanian and Greek gifted craftsmen. Therefore, we will deal with, on the one hand, the contents which are common to such masterpieces of art especially regarding the church one and, on the other hand, with those aspects that have made them be unbeaten - their aesthetic and theological identity. We are going to locate those border areas of medieval art in which the stable principles (rules) could be converted into artistic individual authorial solutions in South-Slavic and Romanian space.

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Apocalyptic Reconstruction of A-bomb Literature, Frankenstein, The Phantom of the Opera: Onibaba

Author(s): Devrim Çetin Güven / Language(s): English Issue: 19/2022

Preliminary studies on Kaneto Shindō’s horror film Onibaba (1964) have based their analyses, in a positivist way, on the director’s elliptic statements, which inevitably restricted their perspective. Hence there are crucial points that preliminary studies overlooked: Onibaba was a self-criticism of Shindō, who had unintentionally contributed to the post-war Japan’s “victimisation narrative” with his early films inspired by contemporary a-bomb literature. Furthermore, the film draws on many motifs from such popular Western horror films as Frankenstein 1970 (1958) and The Phantom of the Opera (1962) to form an allegorical image of an apocalyptic world reverted to primitive ages due to the devastation by nuclear world wars. Endeavouring to “unmask” the hidden meanings of this intriguing but equally esoteric film, this comparative study aims to contribute to the research on a-bomb literature adaptations and horror cinema.

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AZƏRBAYCANDA YAŞAYAN LƏZGİ ETNİK QRUPUNUN FOLKLOR MUSİQİSİ

Author(s): Türkən MUSAYEVA / Language(s): Azerbaijani Issue: 54/2022

It is important to study the culture of the Lezgins living in the Republic of Azerbaijan and a minority as an ethnic group, to study their folk music traditions. Therefore, the main purpose of the article is to study the ancient ceremonies of the Lezgi people and the characteristics of the music used here, especially songs and dances. The article also provides information about the ancient Lezgi ceremonies, based on the study of the ceremonies of the Lezgi people, especially their dances, and their transmission to future generations as part of the study of the cultural values of minority peoples in order to preserve and develop multicultural values. Particular attention was paid to determining the importance of the Lezginka dance, which is the main national value of the Lezgi people. Therefore, certain characteristics of the dance "Lezginka" are highlighted. The article provides information about a number of musicians, including Gottfried Hasanov, who played a role in preserving the traditions of Lezgi ceremonies, especially their dances, and the Suvar dance ensemble, and emphasizes their role in preserving Lezgi dances.

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MANİSA YAZMA ESER KÜTÜPHANESİNDE BULUNAN 2815 ENVANTER NUMARALI MURAKKA‘NIN SÜSLEME ÖZELLİKLERİ

Author(s): Hüseyin Elitok / Language(s): Turkish Issue: 90/2022

The most beautiful examples of arts such as calligraphy, illumination and miniature, which have an exceptional place in Islamic arts, can be seen in manuscripts and murakkas. The first examples of murakkas, which were previously prepared in the form of a book, appear at the end of the 15th century. Well-designed examples of these works, which developed further in the 16th century, can be found since the 18th century. Murakkas were written with the most beautiful calligraphy in every period, decorated, and preserved for many years without being worn out. Today, there are well-preserved murakkas in museums, libraries and private collections, rich in writing and ornamentation. One of the mentioned libraries is the Manisa Manuscript Library. The study deals with Murakka with Inventory Number 2815, which is preserved in the Manisa Manuscript Library. The work is "nesih müfredat meşkî", and consists of three leaves. There is no information about the history, calligrapher, bookbinder and illuminator of the work. The study aims at determining its place in the period examining it in terms of pattern, motif, colour, technique and style.

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İNGİLİZ ROMANTİK RESMİNDE WİLLİAM TURNER’IN PEYZAJ RESİMLERİNİN POETİKASI

Author(s): Oktay Köse,Hülya Gücüko / Language(s): Turkish Issue: 91/2022

William Turner is considered one of the most important artists of romantic landscape painting. The artist, who has shaped his artistic approach by using his sublime aesthetic, has strived to raise the reputation of landscape painting against portraits and historical paintings throughout his entire art life. Turner has been accepted as a 'proto-modernist' in his entire art life (Robinson, 2016: 6). The landscape paintings that Turner made with the new way of seeing and expressing that he developed in his last period could not be understood by the critics of the time and the society and became the subject of ridicule. The link between Turner's aesthetics and modernist abstraction was only established in a series at the Museum of Modern Art in New York in the mid-1960s. Turner's artistic aesthetics also prioritized the avant-garde movement, which shaped artists who were sensitive to social problems and questioned the current state of impressionism, expressionism, abstract art and art. In this study, selected recent works of William Turner with his sublime aesthetic will be examined. The method of the analysis was carried out by using some data in the semiotics universe and by focusing on the contrasts, similarities and differences with the poetics method. Purpose of the study; The aim is to reveal the stylistic commonalities and differences of William Turner's landscape paintings, as well as their originality and distinctive features, through selected works.

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Usporedna analiza melodrama: Samo jednom se ljubi (1981) i Oficir s ružom (1987)

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Usporedna analiza melodrama: Samo jednom se ljubi (1981) i Oficir s ružom (1987)

Author(s): Jelena Grgić / Language(s): Bosnian Issue: 56/2022

Rajko Grlić’s The Melody Haunts My Reverie and Dejan Šorak’s film The Officer with a Rose were made in the 1980s, at a time when postmodernist influences were felt in national cinema. In postmodernism, Croatian film has shown greater interest in film genres that have for a long time been underrated and considered inferior. This was particularly the case with melodrama genre. Grlić’s and Šorak’s melodramas, despite some significant differences, share a common dramaturgical structure - the tragic and inacceptable love between a partisan and a middle class „bourgeoisie“ woman in the Post-World War II period. Also, intertextual connections with American and European melodramas encompassing similar settings (depiction of the same time period, motifs, etc.) can be noticed. In case of Grlić these connections are more subtle, but in Šorak’s film there is a more direct homage to the author/genre. A comparative analysis of the two melodramas will point out the similarities and differences in treatment of genre, motifs, typology of characters, and references to film history, as well as Šorak’s possible references to Grlić’s melodrama.

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