Polyphony in orthodoxy: General principles and preconditions for its existence

Author(s): Vesela Boyadjieva / Language(s): English Issue: 1/2021

The matter of style in Orthodox Church polyphony can be clarified by comparing Eastern and Western polyphonic practice and – more specifically –their models for sacred music. This investigation is based on the parallel between Russian and Western modality and the principles of connecting textural voices. The voices in Orthodox polyphony are not equal, which is why the universal principle in the vertical events could not be derived. Nevertheless, Orthodox scores do possess a high degree of vertical organization.

ФЕНОМЕН ВЗАЄМОДІЇ ІТАЛІЙСЬКОЇ ТА АНГЛІЙСЬКОЇ ПРИДВОРНОЇ КУЛЬТУРИ В ПЕРШІЙ ПОЛОВИНІ XVII СТОЛІТТЯ

Author(s): Alla Sokolova / Language(s): Ukrainian Issue: 4/2022

The purpose of the article is to identify the points of interaction between the English court culture and the Italian court culture of the first half of the 17th century and to highlight their characteristic features. The novelty of the study lies in understanding the interaction, similarities, and differences between the leading court genres of the Italian and English culture in the first half of the 17th century. The research methodology consists in applying the methods of analysis and synthesis, systematisation of facts, comparison, and generalisation of the research results. The systemhistorical method made it possible to consider the formation of Italian court culture in the Renaissance. The comparative method helped to reveal the similarities between court musical and theatrical performances in the above-mentioned countries. Conclusions. The attachment of the court culture of England, in general, and the genre of the English court mask, in particular, to the culture of the educated aristocracy of Italy, is verified by the cultural inclusion in the traditions of Italian carnival values and cult Italian dances. During the reign of the Stuart kings, the Italian carnival was well-known in England along with other European court entertainments. Italian dances, costumes, and scenery were used in court musical and theatrical performances in England. Italian choreographers and musicians were welcome guests at the Royal Palace of Whitehall, which contributed to the interaction and interpenetration of continental court culture with the culture of England. However, despite certain parallels between the court musical-theatrical entertainments of England and Italy, their difference was carried out due to the orientation of the performances to a narrow and, accordingly, wider circle of aristocratic participants.

UMJETNOST I TIPOLOGIJA ŽENSKIH NIŠANA SJEVERNE I SJEVEROISTOČNE CRNE GORE

Author(s): Burhan Čelebić / Language(s): Montenegrine Issue: 8/2022

Research and study of sights is not new in the Balkan area. The first important research in this field was carried out by two Bosnian-Herzegovinian researchers, namely Mehmed Mujezinović and Šefik Bešlagić. Those researches were carried out in Bosnia and Herzegovina through three levels - history, epigraphy and art. In addition to these two great men, we also have some other researchers who worked on sights such as Ćiro Truhelka, Antun Hangi, Seid Mustafa Trajlić, Alija Nametak, Alija Bejtić, Džemal Čelić. Often, these and many other authors classified men's sights into ulema, dervish, martyr, pashin, agin, hajji, clerical, etc. They did this, first of all, because of their rich decoration, which is as different as the weapons that are a frequent motif on those sights - shield, sword, bow, mace. It is not difficult to distinguish the sights of men from the niches of buried women. Men's sights are reminiscent of medieval tomb in their dimensions, with the difference that the headboards are represented with creases. Women's sights are significantly different: smaller, more modest and simpler, mostly in the form of a truncated shield, less often, on the frontal edges, decorated with floral motifs, leaves and tree branches. In addition to these ornaments, we also notice some that reflect and symbolize female beauty and elegance. In this section, it should be mentioned to the readers that women's sights could also be characterized in a better way, that is, they could get their own characteristic shapes. For example, until now every female sights has been treated in a broader scope and in the simplest sense as a sights of a deceased woman. Certainly, there were those researchers who classified the sights into stelae and women's caps. All this points to the fact that the division within the circle of women's sights is poor and that this allows deepening and classification in a new and appropriate way. In this sense, we are of the opinion that a new division could be made among women's sights based primarily on their external appearance. Such a starting point gives us the right to classify them into women's sights in the form of a stele, women's sights in the form of pillars with a women's cap and women's sights with solufs. But, even for this division, it could be stated that it is poor and not comprehensive, because women's sights can also be observed and explained from the point of view of social position and affiliation. Large and well-decorated nishans belong to rich women, while those of smaller dimensions and with less decorative ornaments belong to poorer people. Just as the Agin and Pašina sights are very richly decorated and of large dimensions, some women's sights could be classified in a similar category. However, we cannot prove this, because in that case we would have to conduct archaeological research, with the help of which it would be possible to obtain more detailed information that would enable better illumination of the deceased person's belonging to a certain social class. On the other hand, shapes can also help us to chronologically place women's sights in the appropriate century. Steles, as the oldest form, began to be used in a slightly older period of making women's sights, already in the second half of the 15th century, and are still in use today. These niches, initially without Arabic epitaphs, with ornaments that are represented on tombs, were carved mostly in Bosnia and Herzegovina and in a somewhat wider area. In the 17th century, women's nishan got another very different form, in the way that a woman's cap was placed on the columnar sights, which began to receive an Arabic epitaph. With these sights, the upper part is in the shape of an inverted fez, while the lower part has a collar that helps us identify these sights. We also have a sight with solufluks that symbolize women's zulufs and their beauty. With this, we have briefly presented the art and typology of sights from the 15th to the 20th century. There are sights that do not correspond to these types, but we have presented them in this work.

Музикалната тема в тенебризма

Author(s): Vyara Popova / Language(s): Bulgarian Issue: 1/2023

The text unfolds a fascinating narrative through four paintings: 1/ Adam de Coster, “Man Singing by Candlelight”, 2/ “Master of Candlelight”, before 1650, “Singing Boy” and 3/ “Master of Candlelight”, 1650, “Singing Boy”. Using candle-singing as a guiding principle, important pictorial concepts such as Caravaggism, “Flying Birds”, Bambochanti, Kiaroscuro and Tenebrism, are introduced and differentiated.

Óscar "Býčí hlava" mezi Afrikou, Paříží a Olomoucí

Author(s): Hana Bortlová-Vondráková / Language(s): Czech Issue: 2/2022

The parallel bilingual Spanish-Czech publication "Óscar Domínguez en Checoslovaquia / v Československu 1946–1949" edited by Pavel Štěpánek and Isidro Hernández Gutiérrez also served as the catalogue for the exhibition of the same name which was held at the Tenerife Espacio de las Artes (TEA) museum from October 2016 to May 2017. The Spanish painter Óscar Domínguez (1906–1957) was born in the capital of the Canary Islands and joined the international surrealist movement in Paris. He visited Czechoslovakia from 1946 to 1949, where he participated in several exhibitions and socialized with Czech and Slovak artists. A large number of his works date from this period and are now in the possession of several prominent Czech galleries (an inventory of these is included in the book). The reviewer presents six studies by four authors that map the Czechoslovak contacts and stays of the Canarian painter, some of the essential themes of his work and the unknown aspects of the relationship between the Czechoslovak and Spanish avant-garde between the wars. In her opinion, the authors succeed in clarifying the importance of Czechoslovakia for Domínguez’s work and bring to light new and extremely interesting information about the artistic relations between the two countries. She finds the rich pictorial and photographic appendix admirable, albeit weakened by the extremely poor Czech translation.

STALNA POSTAVAKA: „HERCEGOVAČKO SELO“ U MUZEJU HERCEGOVINE MOSTAR

Author(s): Zlatko Zvonić,Ibrahim Dizdar,Aner Duraković / Language(s): Bosnian Issue: 20/2021

Museology as a science often requires that ethnological matters be taken care of as well settings, method of presentation, and especially education. The space of the mentioned exhibition under the name "Herzegovinian village" is in our museum possibilities appropriate, and the presented objects show the Herzegovinian village and way of living in it. The setting is made in proportion to show the culture cultivation of the land, the culture of food and clothing and the interior of rural Herzegovina houses. Central photo showing the interior of a Herzegovinian country house and a larger number of rustic objects with a seating set give a faithful representation of Herzegovinian village. Ethnological settings are mostly interesting and educational for group and individual visits, and especially for educational institutions. The Museum of Herzegovina Mostar with its ethnological opus, which is visible and through the subject work, continues to take care of this branch of museology, regardless that sometimes circumstances are not favorable to such sciences, unless they are in the service of commercialization. The very fact that the exhibits were recently restored and the setting restored and put into operation, speaks in favor of preserving and exhibiting ethnology collection.

PRIKAZ AKTIVNOSTI HISTORIJSKOARHEOLOŠKOG ODJELA MUZEJA HERCEGOVINE OD FORMIRANJA DO SAVREMENOG DOBA

Author(s): Edin Mulović,Indira Gaštan-Bešo / Language(s): Bosnian Issue: 20/2021

The paper discusses the development and chronological review of the activities of the historical and archaeological department of the Herzegovina museum.The Museum of Herzegovina was founded in 1950.with the aim of researching,collecting,preserving and presenting the rich cultural and historical heritage of Mostar and the region of Herzegovina.Therefore from the very beginning of the establishment, collecting of artefacts from the entire area of Herzegovina has begun. From its establishment to the present day ,it has primarily dealt with the gathering od museum funds for historical and archaeological collections,among other things.The period of the sixties and seventies of the last century was marked by the work of these departments,where enviable results are achieved,as well as field research works,among which are Cim Basilica,the Basilica of Zitomislici etc.,then the organization of mobile exhibitions.Through exhibitions,a large part of the cultural and historical heritage belonging to periods from the most ancient past of Mostar and Herzegovina is presented to the public.The nineties,due to the aggression on the Republic Bosnia and Herzegovina,marked the end of all previous activities with the loss of majority of material and personnel capacity required for the normal functioning of the museum.After the war,the museum recovered,but in new socio-political circumstamces.Special attention was paid to the digitalization of museum materials.The role of the Museum of Herzegovina is to enable,through the work of the historical and archaeological department,all museum materials to be researched,digitalized and presented through activities, lectures, publications, exhibitions and workshops.

Pripovjedna proza u književnome izričaju posavskih Hrvata

Author(s): Mato Nedić / Language(s): Croatian Issue: 128/2022

If one wants to observe the area of Bosanska Posavina as it used to be, that is, before the Homeland War, then it must be remembered that this region consisted of eight municipalities: from Brčko in the east to Derventa in the west, and Gradačac and Modriča in the south. More than 135 thousand Croats lived in that area, which was about 44% of the total population1. However, the war's destruction and suffering significantly changed the ethnic composition of the population in Posavina. Although even today, when one says Bosnian Posavina, one means its entire territory, in reality the Croats held on only in the defended part, which is the area of the municipality of Orašje and parts of the municipality of Bosanski Šamac, from which the municipality of Domaljevac was later formed, and in the area Odžak municipality, which was returned by the aggressors in the Dayton Peace Agreement. In today's Posavina reality, these three municipalities make up the area of the Posavina County, and in them the full-scale development, and that then means the cultural life of the Posavina Croats.

Disiecta Membra Musicae: Studies in Musical Fragmentology, red. Giovanni Varelli, De Gruyter, Berlin 2020, (Studies in Manuscript Cultures, vol. 21), ss. 398

Author(s): Karolina Kinga Figaszewska / Language(s): Polish Issue: 4/2022

MILAN SUNKO – A FORGOTTEN WORLD RENOWNED CROATIAN HERALDIC ARTIST

Author(s): Željko Heimer / Language(s): English Issue: 1/2022

Milan Sunko (Zidani Most, 5 December 1860 – Zagreb, 9 March 1891) was a heraldic artist, numismatist, and collector, who studied and started his carrer in Vienna working with the most renowned heraldists of the “classical” Austrian heraldic period. He moved to Zagreb where he made number of well received paintings and graphics and was supported by the intelectual elite of the fastly developing city. His brief spectacular carrier was abruptly ended by laryngeal tuberculosis, and he died in his 31st year. His works are preserved in several museums and galleries in Zagreb, and his heraldic lithographs and ex libris bookplates are remembered in specialized bibliography. However, the Croatian heraldic historiography has forgotten all about him and this paper attempts to remedy this. After the establishment of the Brotherhood of Croatian Dragon Society – one of its founders being Emilij Laszowski, notable Croatian heraldist; it took upon a project to preserve Sunko’s grave, exhuming his remains and providing a modest but dignified grave for him at the Zagreb cemetary in 1910. To achieve that, the Draconian Society raised funds in an international action, activating his foreign friends and fans, documenting the project in respectable heraldic periodicals.

Obrazová příloha IV

Author(s): No name Anonymous / Language(s): Czech Issue: 54/2022

"Moje imię to milion" – onimiczna lektura prozy Olgi Tokarczuk

Author(s): Magdalena Graf / Language(s): Polish Issue: 13/2022

“My name is a million” - an onimic reading of Olga Tokarczuk's prose. This article examines proper nouns in the works of Olga Tokarczuk. I analyse critical assumptions of literary onomastics and try to understand to what extent the onimic layer of the works of the Polish Nobel laureate can be considered as a system. The cited examples of literary proper names appearing in selected Tokarczuk novels allow us to understand the individual features of naming (especially the use of capital letters and the creation of individual descriptors) as well as the way this is rooted in the broader context of literature, culture, science and history, which also influence the use of proper names in the author’s works. The theories put forward by Italian literary historian Franco Moretti provide a complementary analytical framework.

“Idzie o to, żeby szło. Miało wzięcie. Działało. Żyło”. Improwizowanie filomatów

Author(s): Agata Żaglewska / Language(s): Polish Issue: 13/2022

The point is to get it going, to make it alluring. To make it work. To keep it alive. The Philomaths’ Improvising. The article discusses improvisational performances of the Philomaths in the context of the advent of a so-called modernity which correlated with a rapid change in people’s lifestyles. My starting point in examining the most characteristic phenomena of the literary life in Vilnius is the newly emerged economic environment: the enormous popularity of improvised poems (performed or written impromptu) and the development of the printed press. The analysis of the Philomaths’ performances, letters and poems focuses on various aspects of improvising, and not only on poetry presentations but also on a spontaneous way of living and the process of literary production. I argue that the improvisational activity of the Philomaths can be considered as an act of experimenting with and adapting various (traditional as well as innovative) literary patterns, and therefore as a poetic laboratory of the new romantic era.

Luigi Marinelli, Noster hic est Dantes. Su Dante e il dantismo in Polonia

Author(s): Andrea Fernando de Carlo / Language(s): Italian Issue: 13/2022

Review of: Luigi Marinelli, Noster hic est Dantes. Su Dante e il dantismo in Polonia, Lithos Editrice, Roma 2022, pp. 206.

WHAT DID THEY SEE? LOOKING AT ART IN A MEDICAL SETTING: BRÂNCUŞI’S ÉCORCHÉ AT THE FACULTY OF MEDICINE IN CLUJ

Author(s): Silvia Făgărăşan / Language(s): English Issue: Sp.Issue/2022

The main question addressed by this paper stems methodologically from the intersection between the history of art and the history of medicine as embodied by the anatomical object: what do professionals in medicine see when looking at a work of art which takes the human body as its subject? In this particular instance, the medical figure is represented by Victor Papilian, appointed in 1919 as Head of the Institute of Anatomy at the Faculty of Medicine in Cluj, while the work of art presented to his students is the Écorché, executed earlier in 1902 by Constantin Brâncuşi. The story of the Écorché is punctuated by controversies surrounding the number of its original pieces and copies (in Bucharest, Craiova, Iaşi and Cluj), directly related to the institutional efforts invested in their acquisition (either by faculties of medicine or academies of art). However, it is generally agreed that this sculpture primarily functions as a didactic prop, no matter its recipient (the medical student or the training artist). By contextualizing Brâncuşi’s Écorché within the specific field of anatomical knowledge developed at the Cluj Faculty of Medicine in the third decade of the twentieth century, I propose an argument for its hybrid nature, mainly by pointing out the distinct interests corroborated in the creation of this anatomical object with an emphasis on the changes set in motion by the contexts of production and distribution.

Deux cinémas: Espoir (Sierra de Teruel, 1939) d’André Malraux et Les oiseaux vont mourir au Pérou (1968) de Romain Gary

Author(s): Jean‑François Hangouët / Language(s): French Issue: Appendix/2022

This communication reviews some of the aesthetical and circumstantial characteristics of André Malraux’s only film, Sierra de Teruel (1939), also known as Espoir (Hope, 1945), and of Romain Gary’s first film, Les oiseaux vont mourir au Pérou (Birds in Peru, 1968). As regards Espoir, our observations are based on the 1939 and 1945 versions of the film, now of easy access, and on the abundant and reliable academic literature published about it. Birds in Peru, conversely, is a far lesser-known and lesser-documented work. Screenings of Gary’s film are all too rare indeed nowadays and, but for a few highly specialized references, its appraisal still consists in a short set of irrelevant legends, continually retold by biographers and academics alike despite their blatant discrepancies with historical evidence, with the film itself, and with Gary’s literary works in general. Ours are first-hand observations: in our possession is a release print, which we had digitized and can thus view at will. In addition, we have explored a variety of source materials in cinematographic archives and historical newspapers. Valued either as one of Malraux’s works or as an example of antifascist propaganda, it is lucky that Sierra de Teruel can still be viewed today, despite the political censorship that prevented its release in September 1939 and despite the destruction of all prints but two by the German occupant in France during WWII. Equally fortunate are the facts that moralistic considerations failed to stop the release of Birds in 1968 and that prints of it aren’t all lost. Gary scholars will find food for thought in it, as well as semioticians, Gary’s film being just as allegorical as his contemporary novel The Dance of Genghis Cohn. More generally still, both works, no naïve executions, bring evidence that talented writers can change media effectively. Far from being literal adaptations, their two films narrate free and inspired versions of stories already told in the written form. Their filming style is creative, their technique masterly. Their ease with the cinematographic medium allows them to reemploy and expand devices known to make their personal literary signature. Such as the striking juxtaposition of action and scenery used by Malraux to convey his metaphysics of disjunction between man and nature. Such as the subtle art of immigrating lexical components from other tongues and languages, idiosyncratic to Gary’s novel writing. Even elements of their respective forms of humanism show through their films.

Tapybos ontologija Arūno Vaitkūno kūryboje

Author(s): Odeta Žukauskienė / Language(s): Lithuanian Issue: 112/2022

The article examines the works of Arūnas Vaitkūnas, in which the contours of the ontology of painting emerge. In Vaitkūnas' art works, two ines are interconnected - being in painting and being of painting. Deepening the tradition of expressionism, the painter delves into the reflection of human existence and the reality proper to paintings. The sense of being and the awareness of its disappearance, a direct experience of specific place and time have become the main subjects of his paintings. He considers the ontological characteristics of painting and reflects on how painting opens being in the surface of the canvas, in the structure itself of the picture through the means of pictorial expression. Besides in his paintings, found objects and installations he questions of the identity of painting to gain a deeper understanding of the peculiarity of the media, the relationship with reality, as well as the limits, liminality and the possibilities of its expansion. The article hermeneutically interprets Vaitkūnas' works, which connect with philosophical insights of Jacques Derrida, Arvydas Šliogeris, Justinas Mikutis, and the paintings of Francis Bacon and Gerhard Richter, revealing attempts to ontologize painting and the searches for its extensiveness, leading to the primeval geoglyphs.

Arvydo Šliogerio „lietuviškosios“ Būties paieškos tapyboje

Author(s): Tomas Kavaliauskas / Language(s): Lithuanian Issue: 113/2022

In this article the author analyzes the search for Being in art according to Arvydas Šliogeris. Although Šliogeris selected the picture of The Great Pine tree painted by Paul Cézanne for his art philosophy - we see that in the book The Thing and Art - the philosopher himself is very Lithuanian, his thinking and his theoretical worldview is permeated with Lithuanian spirit. It is especially clear when he interprets Čiurlionis‘ paintings titled Sonata of the Grass Snake, the vision of the Grass Snake. A Grass Snake, who is sacred in the pagan tradition in Southern part of Lithuania called Dzūkija, is interconnected with Šliogeris‘ philotopia in Dzūkija region. From the cultural point of view, it is far away from French region of Provence, which was the inspiration for Cézanne. The article also analyzes why Šliogeris did not choose the sea theme in painting. After all, the openings of Being could be found in the painting of dramatically stormy sea with a sail ship tipping over the waves. By refusing to search for Being in sea paintings, and instead opting for the region of Southern Lithuania, he evidently makes a subjective selection, looking at the world through the prism of the self “I“. It is, owever, impossible otherwise. After all, philotopia as such, inevitably presuposes subjectivity.

Wyznaczniki regionalizmu w zbiorze opowiadań Heleny Romer-Ochenkowskiej Tutejsi (1931)

Author(s): Irena Fedorovič,Miroslav Davlevič / Language(s): Polish Issue: 2/2022

The object of research is a collection of short stories by Helena Romer-Ochenkowska (1875–1947) titled Tutejsi (Warsaw 1931). It is the third series of short stories by a famous Vilnius writer, poet and journalist, which is devoted to regional issues. The protagonists of the stories are native inhabitants of the Lithuanian-Belarusian border, people of different nationalities (Poles, Belarusians, Lithuanians, Jews) and of various origins (wealthy and poor nobility, peasants, officials). The stories takes place during the years of World War I and in the interwar period, when some of the Lithuanian-Belarusian territories became part of the Second Polish Republic. The indigenous people of the borderland were shown in opposition to “strangers” – German soldiers and former Russian officials and clergy. The most important determinant of regionalism, as exemplified by the collection of Tutejsi stories, is linguistic distinctiveness, visible in the author’s narrative and in the characters’ individualized language. There are regionalisms and dialectisms in the language of the heroes typical of the North-Borderlands Polish language. Based on the methodology of cognitive linguistics, the authors of the article also distinguished several other concepts that characterize regionalism, which are: local territory / patriotism; landscape; customs / traditions; games / songs; costumes. The results of the research confirm the correctness of the scholars’ opinion that people of the borderland tend to position themselves as locals and maintain a sense of their own separateness.

RİND-ZAHİD ÇATIŞMASININ MOLLA TİPİNE YANSIMASI: TEZVÎRÎ’NİN MONLÂ REDİFLİ HİCVİYYELERİ

Author(s): Bülent ŞIĞVA,Üyesi Salih ÖZYURT / Language(s): Turkish Issue: 57/2023

Divan poets, who created works in Sufi style, discussed the conflict of rind-zahid both in some of their independent works and in some of their poems that they wrote in verse forms such as odes and ghazels. The poets compared the type of zahid who put the mind to the fore and takes ostentatiousness as the axis, and the type of rind, who are considered as the connoisseur of the heart that isolates himself from the records of the transient world, thanks to his mystical bond stemming from malāmah (blame). While discussing the rind-zahid conflict, the Divan poets, who see themselves as rind, described the zahid type as vulgar and satirized it. In this article, firstly, a general information about the type of satire will be given and the appearance of the rindzahid conflict in Divan poetry will be discussed. Two satirical poems with "monlâ" redif, which are thought to be written by Tezvîrî, will be evaluated in terms of their features of form and content. It will be revealed in which ways Tezvîrî satirized the type of mullah and what kind of satirical styles he adopted. The article will be completed with the transcription of the poems into Latin letters.