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Muzealna historia słomianych carskich wrót z Polesia (Białoruś)

Author(s): Olga Łobaczewska / Language(s): Polish Issue: 1/2022

The article focuses on the history and anthropological aspect of the museification of straw gates — unique monuments of sacred art and folk art of the first third of the 19th century, originating in the rural churches of Western Polesie (within the area of Belarus and Ukraine). The stories of their discovery, study, museification and restoration were accompanied by a desire to save and preserve unique wickerwork made of rye straw for posterity. As a result of museification, unique artifacts have acquired symbolic values and significance of a unique cultural phenomenon of Belarus.

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Компютърна съзидателност: зараждане и развитие на компютърните изкуства

Author(s): Nikolina Mincheva / Language(s): English,Bulgarian Issue: 1/2023

In the history of art, certain artists began to stand out thanks to reasons that were not always directly related to the subjective value of their works. During the stormy and rebellious 1960s, so many changes took place in the world of art that some events and persons remained in the background. This is the case with the controversial computer arts. This article studies the history of computer arts and sheds light on this problematic subject by tracing the relationships of people and events. It is problematic because, apart from being neglected by quite a few artists and curators, it turns out that the term ‘computer arts’ itself is controversial to its creators. For the first time in art history, as Frieder Nake (one of the actual pioneers in the field) argues, the technological means of making art becomes a definition, part of the name of an entire genre. Also, the name itself creates an abyss of possibilities for its interpretation. Are computer arts actually art made by computers, or are they art at all? These questions are the weapons of the opponents of these art forms, but, in fact, they can lead to very interesting discussions, giving possible answers to questions about art in general.

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Genres of Non-academic Musical Theater in Romania: Pages of History

Author(s): Inga Postolache / Language(s): English Issue: 1/2023

The purpose of the paper is to analyze the premises of the appearance of the musical on the Romanian scene, as well as to bring to light the first attempts to create the national musical. The origin of the theatrical-musical genres of entertainment is, like all other forms of theatre, in the period of syncretism of the arts, being found in performances of the genres of comic opera, operetta, revue theatre, etc. The first examples of Romanian musicals appeared in the 1970s. In a wide variety of examples from world drama, literary bases of authors are used: O.Wilde with the play Salome, L. de Vega with the play The Gardener's Dog, G. B. Shaw with Pygmalion, W. Shakespeare with Romeo and Juliet and A Midsummer Night's Dream, R.B. Sheridan with Rivalries and so on. The Romanian literature is represented by Chirițele, Piatra din casa, Sânziana and Pepelea, after plays by V.Alecsandri, O noapte furtunoasă, O soacră by I. L. Caragiale, Trei crai de la Răsărit, by B.P.Hașdeu, Titanic Vals, Fulgi de nea by T. Mușatescu and others. American musicals are presented on Romanian stages in the second half of the 20th century with examples such as The Phantom of the Opera by A.L.Webber, Cabaret by R. Burns, Chicago by John Kander, West Side Story by L. Bernstein, etc. As far as local composers are concerned, we can say that an entire plethora is formed that contributes to the development of the musical genre: Edmond Deda, Henry Mălineanu, Gherase Dendrino, Mihail Sebastian, Temistocle Popa, Nicu Alifantis, Răzvan Alexandru Diaconu, Dan Ștefănică, Endre Sarosy, Sorin Chifiriuc, Liviu Cavassi, Ada Milea, Anca Hanu, Roman Vlad, Camelia Dăscălescu, Marius Țeicu, Dumitru Lupu, etc.

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Postmodern Accents in the Works of Ukrainian Composers of the Late XX Century

Author(s): Gabriella Laslivna Astalosh / Language(s): English Issue: 2/2023

The article is devoted to the problem of postmodernism in the works of Ukrainian composers of the late XX century. It shows out the specifics of musical postmodernism in Ukrainian composers’ creativity. In the process of the research there was highlighted a state of art history on this problem; the specifics of postmodernism emergence and its aesthetics formation in the national art were studied; the main creative methods in composers’ works were generalized; the typical features of new musical vocabulary were systematized. In the article the following methods were used: source studies, historical, analytical, methods of analysis, synthesis, comparison, abstraction, theoretical generalization. The article is one of the first attempts in the world context which highlights the postmodern paradigms of Ukrainian music. This scientific paper determines the characteristic features of Ukrainian musical vocabulary. In it there was proved that musical art of the late XX century has undergone significant changes under the influence of deep processes in social, moral, spiritual spheres. Domestic music has entered a qualitatively new round, synthesizing all the experience of previous epochs, national and European musical traditions, combining them with a specifically Ukrainian mentality. All these affected the formation of national musical postmodernism, which was characterized primarily by polystylistics, stylistic allusions in both classical and folklore discourses, fragmentation and spontaneity in the creation of musical forms, conceptual authorial ideas.

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Investigating the representation of the Lydian delegation in the reliefs of the eastern staircase of Apadana (case study: vessels and jewellery)

Author(s): Vahid Azadi,Karim Hajizadeh Bastani,Habib Shahbazi Shiran / Language(s): English Issue: 1/2023

The eastern staircase of Apadana – the Royal Achaemenid Audience Hall at Persepolis was decorated with numerous reliefs depicting various people subjected to the king’s rule, paying homage and bringing gifts. Among these, the Lydian group is one of the delegations carved in the lower part of the staircase. This group was led by one of the officers of the Achaemenid court. The participants carried amphorae, bowls and armlets and were also bringing horses and a chariot. The amphorae and arm rings were represented distinctly with beautiful and unique animal decorations. The purpose of the following research was to identify the metal prototypes of the goods represented as carried by the Lydian group (amphorae, bowls, arm rings) and to illustrate them with artefacts housed in important museums of the world. This research was carried out by descriptive, analytical, comparative and field visit methods. It also used the method of referring to domestic museums and websites of foreign museums, reviewing documents and historical texts. The research concludes that the gifts carried by the Lydian group on the eastern staircase of Apadana, including amphorae, bowls and arm rings, had ceremonial usage, sometimes also being used in important court parties. Animal decorations in the form of griffins were used on the handles of amphorae and rings, which have their roots in the mythology of ancient Iran and other Achaemenid nations. Achaemenid artists developed it after modelling this type of decoration from other nations. This type of decoration (griffin) has been used to decorate jewellery, luxury items, seals, textiles, reliefs etc. The goods carried by the Lydian group as represented on the eastern staircase and some of its metal prototypes were used by the wealthy class of Iranian society in the Achaemenid period.

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REPRESENTATIONS OF THE CHILD IN THE UNIVERSAL ART AND LITERATURE

Author(s): Marta Albu / Language(s): Romanian Issue: 24/2021

The status of the child has evolved in time, from all points of view: social, pedagogical, moral, literary, artistic, not having a single image of childhood, but several contradictory images, several systems of representations of childhood. Children were virtually ignored by both their contemporaries and later historians. A small but growing number of current researchers are working diligently to resolve this imbalance. Even so, most of the history of childhood still remains hidden, as most research focuses on the relatively recent past of the last centuries. The present study aims to highlight the representations of the child in arts and literature. We do not follow all the representations, but simply present different trends that can be observed in arts and literary works from various centuries, to evoke the role of the child in literature and transformations, the evolution of mentalities and its rendering in fiction.

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HUBÂNNÂME VE ZENANNÂME’DE YER ALAN BİR MİNYATÜRDE İSTANBUL LÂVTASININ İZİNİ SÜRMEK

Author(s): Gökhan Çaylak,Nilgün Sazak / Language(s): Turkish Issue: 42/2023

There are several lute types used or are still in use in the global history of art. The lute under study is an instrument with which mostly folk songs/tunes were performed between the 18th and the 20th Centuries in a region such as the Western Aegean, especially in Istanbul. Miniatures are the first prominent data sources on the culture and art setting in the Ottoman period which provide information to authors and interested parties on many subjects. In this study, a miniature determined by the author, in the work titled “Hubânnâme ve Zenannâme” authored by Enderunlu Fâzıl, dated 1793, will be discussed as a visual material. In the study, semiotic analysis, a qualitative research method will be conducted based on the theoretical framework of Ferdinand de Sassure (1857-1913). This miniature is the first known miniature in which the Istanbul lute and the Istanbul kamancheh were depicted together. In the study, purpose is to examine the visual elements in the miniature in the context of the Istanbul lute. Considering retrospective inferences and possibilities are emphasized due to the scarcity of resources on the instrument, this miniature appears as a significant value providing information on the setting/space where the instrument was played in the 18th century. It is considered that adopting an interdisciplinary perspective in this study would contribute to further studies

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ASPECTS OF CHURCH MUSIC FROM THE ARAD AREA IN THE 19TH CENTURY

Author(s): Petrica Rusu / Language(s): Romanian Issue: 24/2021

The musical life in Western Romania in the 19th century was centered on the city of Arad. It became the cultural, theological and missionary center of the Romanian Orthodox in the 19th century in this part of the country. The present research focuses on historiographical, theological and cultural aspects that place the Arad Orthodox Romanians in the center of the concerns of the Romanian West. The prestigious institution mentioned, respectively the theologians and the people of culture who consecrated it, is the subject of the present academic incursion.

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Dönüştürücü, Eleştirel ve Politik Bir Sinemanın İmkânı: Guy Ernest Debord Sineması

Author(s): Hale Satıcı / Language(s): Turkish Issue: 15/2023

Is it possible to make a critical, political and transformative cinema that is free from traditional principles of narrative and cinematography? Is it possible to make cinema a political and critical form of action? The possibility of such a cinema is revealed in Guy Ernest Debord's critique of spectacle and the method of detournement. Debord, who is both a theorist and a filmmaker, points to the method of detournement as a political and artistic form of action in the construction of his cinema. According to him, the way out of the spiral of domination that the spectacle spreads through images is possible through political intervention in the artistic field. The detournement method is a powerful tool for such an intervention. Debord states that all reality is reduced to images as an illusion and turned into a spectacle. According to him, mass media and especially cinema are tools that serve the spectacle by reproducing false reality. From this point of view, this study focuses on Guy Ernest Debord's concept and criticism of spectacle as expressed in his theory and his films, each of which is a manifesto in itself. This study focuses on Guy Ernest Debord's life, criticism and cinema based on his theory of the spectacle. The study presents a critical analysis of the spectacle by referring to Debord's films and questions whether the detournement method makes it possible to make a critical, political and transformative cinema.

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Sorry We Missed You Filminde Yabancılaşma: Karl Marx Perspektifinden Bir Değerlendirme

Author(s): Seda Dilek Göğüş,Hakan Kılınç / Language(s): Turkish Issue: 15/2023

This study examines the movie Sorry We Missed You in the context of Karl Marx's concept of alienation. Known for his films on the working class, Ken Loach presents the exploitative relations of employees and capital owners, the problems arising as a result, loneliness and alienation, in all its reality, in order to create surplus value and ensure its own existence and continuity in the capitalist system. Alienation is a phenomenon that Marx developed by pointing to the capitalist mode of production and has a burning and destructive effect in the social process in which the workers are physically and mentally involved. While developing his arguments about alienation, Marx makes an analysis over the proletariat. However, in this film, which is processed on the precariat example, an order in which alienation is even deeper today is criticized. As a matter of fact, the movie Sorry We Missed You tells the struggle and the process of elementary family trying to cope with the economic difficulties struggling in the whirlpool of capitalism. The issue of alienation, which is visible in such a capitalist order, manifests itself in various forms around different characters throughout the film. Therefore, in this study, the focus will be on the content of the film, the messages given and the theme, rather than the technical elements specific to the film in question.

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The Philosophy of Chaos in Cinema: An Analysis on the Movie Mr. Nobody

Author(s): Yavuz Akyıldız / Language(s): English Issue: 15/2023

This study analyzes the movie Mr. Nobody (Dormael, 2009) within the framework of chaos philosophy, tragedy, and complex storytelling in cinema. The movie takes place in a science fiction universe where humankind has found immortality, in 2092. The main character of the movie, Nemo, is the only and last mortal in this universe. Mr. Nobody is a movie focusing on the different life experiences that could potentially occur, moving through the choice that the main character Nemo had to make as a result of his parents' divorce at the age of nine. Within the scope of the study, besides the philosophical concepts in the content of the movie, it was also discussed how this philosophy was experienced by the audience in a fictional and narrative form. Accordingly, philosophical concepts such as existentialism and modernism that are directly and indirectly mentioned in the film, criticism of modernism, the origins and philosophy of the chaos concept, fractal structures, and phenomena such as the butterfly effect and Lorenz Curves were handled in the context of complex storytelling, which has been used as a narrative technique in cinema since the 1990s, taking into account the editing technique of the film.

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Evaluation Of The Concepts Goodwill and Duty, Considering The Cinematographic Narrative Through The Film “Dept”

Author(s): Eda Arısoy / Language(s): English Issue: 15/2023

The intellectual process that cinema reveals with visual and auditory images is unique. While visual and auditory images trigger personal emotions in the audience, they also inflame intellectual activity starting in mind. Concepts, which are the most basic components of the thought system, that provides new expansions. This also encourages performances of contemporary cinema directors and enables the production styles of films to be autonomous. The evolution of the audience's perception of cinema has given rise to a new breed of directors who, through their philosophical approach, engage viewers as intellectual partners in their works. These directors employ a variety of cinematographic elements, resulting in a rich diversity in narrative construction. Interestingly, when filmmakers deviate from the conventional norms by introducing unconventional sound and visual imagery, it can elicit intriguing and stimulating effects. This study embarks on a discussion of goodwill and duty, delving into the common ground between cinema and philosophy, with a specific focus on the film Dept (Borç, Vuslat Saraçoğlu, 2018). Serving as a compelling platform for examining the concepts of goodwill and duty, this film epitomizes the renewed narrative structure of Turkish cinema and provides deep insights from multiple perspectives. The objective of this study is to conduct a film analysis that explores the nature of questioning and approaches these concepts through the narrative power of cinematography. It is crucial to evaluate the boundaries of duties and determine how they intersect with the limits of goodwill is the focal point of the evaluation.

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ЕСТЕТИКО-ФІЛОСОФСЬКІ ОСНОВИ ТАНЦЮ КОНТЕМПОРАРІ

Author(s): Natalia Vladimirovna Fedotova / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to reveal the aesthetic and philosophical foundations of contemporary dance. Research methodology is based on the analysis of scientific sources related to the topic, the application of cultural optics in the clarification of the aesthetic and philosophical foundations of contemporary dance. Scientific novelty. The main approaches of the aesthetic-philosophical foundations of contemporary dance are revealed, and emphasis is placed on consideration of physicality as a specific feature of contemporary dance. Conclusions. Contemporary dance can be qualified as an intellectual choreographic direction, a kind of tool for self-awareness and self-reflection of modern culture. Physicality is a specific feature of contemporary dance, which is due to the desire to establish connections with historical and cultural transformations of the attitude to the human body. The formation of the aesthetic and philosophical foundations of contemporary dance is based on the ideas and approaches of the founders of modern dance. A. Duncan, D. Humphrey, R. Laban, M. Cunningham, J. Skinner, T. Brown, S. Paxton, D. Zambrano, and others are among the choreographers who started new philosophical currents. Philosophical understanding of dance by choreographers consisted in advocating the ideas of a holistic approach in determining the conditions for the fullness of human existence and in effective experiments of fusion of Zen Buddhism and dance. The priority of universal human values and the importance of awareness of one's bodily existence were proclaimed, and the life-affirming meaning of aesthetic culture focused on the need for harmonious development of the individual. Contemporary dance techniques are aimed to develop somatic experience and human physicality, contributing to the formation of a body-oriented philosophy of dance.

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СВІТОВІ СПІЛКИ МОВНИКІВ ЯК ІНСТИТУЦІЇ РОЗВИТКУ ТА ПІДТРИМКИ ТЕЛЕІНДУСТРІЇ У ХХІ СТОЛІТТІ

Author(s): Igor Pecheranskiy / Language(s): Ukrainian Issue: 1/2023

The purpose of the research is to analyse the missions, key directions, and principles of work of the main world broadcasters’ union as a significant institutional aspect of the TV industry development and audio-visual culture in the XXI century. Methodology of the research. In the article, firstly, a system approach is used to look at the broadcasters’ union as the integral element of the TV and audio-visual industry. Secondly, a principle of the historical neoinstitutionalism is applied, in accordance to which the broadcasters’ unions are accepted as the historically formed structures and institutions that condition the processes of this branch development and support, and the institutional trajectory chosen by them determines the parameters of television discourse today. Scientific novelty of the research. For the first time at the scientific article level, the position and peculiarities of the broadcasters’ unions as the institutional development and support of the TV industry in the XXI century were considered. Conclusions. The significance of the role of the world broadcasters’ unions was emphasized, which in the XXI century remain one of the key subjects and players in the international media market. On the example of such institutions as the European Broadcasting Union, African Union of Broadcasting, Asia-Pacific Broadcasting Union, we have proven that the world broadcasters’ unions remain a powerful tool of influence on the international arena and a driver of the TV and audio-visual industries development at the modern stage. These unions provide normative and technical support of their members, exchange of technologies, programs and innovations, create conditions for learning and cooperation (through conferences, working groups, trainings), international frequency planning and coordination, promote the influence of the TV industry and audiovisual industry on the social-economic development of a region.

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МУЗИЧНО-ПОЕТИЧНА СИМВОЛІКА POÈME DE L’AMOUR ET DE LA MER М. БУШОРА – Е. ШОССОНА

Author(s): Aliona Milanina / Language(s): Ukrainian Issue: 1/2023

The purpose of the work is to decode the symbolism of the vocal cycle «Poème de l'Amour et de la Mer» by E. Chausson based on poems by M. Bouchor. The research methodology consists in the application of semiotic, comparative, historical and biographical, hermeneutic, as well as structural and functional methods. The specified methodological approach allows us to reveal and decode the symbolism of the musical and poetic text of E. Chausson's vocal cycle based on M. Bouchor's poems «Poème de l'Amour et de la Mer». The scientific novelty of the research lies in the perception of the vocal cycle «Poème de l'Amour et de la Mer» by E. Chausson based on the poems by M. Bouchor as a complex symbolic formation intended for the communication of the recorded, meaningful authorial information. Consideration of this work in the semiotic and information space allows us to identify and decode the symbolism of the musical and poetic text of the work as well as to understand the musical universe of the French composer and his version of symbolism. Conclusion. Analysis of «Poème de l'Amour et de la Mer» proves that the poetic and musical text of the work is saturated with symbols, the decoding of which helps to immerse into and understand the authors’ ideas most deeply. It can be argued that the vocal cycle is inspired by and based on the symbolism of the poetic text, as well as that the composer's interpretation is as close as possible to the aesthetics of symbolism. E. Chausson’s work seems to evoke memories, he knows how to maintain an imaginary, in modern terms, virtual, deliberately ambiguous world composed only of unique fragments, for that reason, the author is constantly in that word as different figures and possible interpretations, which are his inner need. This freedom and independence of mind, to a certain extent, correspond to the mentality of the Symbolists. «Poème de l'Amour et de la Mer» preserves the already existing cultural and musical frameworks, but E. Chausson adapts them to his own requirements and offers a unique version of symbolism, that is, E. Chausson’s universe develops in two parallels: some testaments of the symbolists persist, but the perceptivity passes through the filter of author's beliefs and sensibility.

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КВАРТЕТ САКСОФОНІВ У СВІТОВІЙ МУЗИЧНІЙ КУЛЬТУРІ ХІХ СТОЛІТТЯ: ВИКОНАВСТВО ТА КОМПОЗИТОРСЬКА ТВОРЧІСТЬ

Author(s): Bohao Du / Language(s): Ukrainian Issue: 1/2023

The purpose of the proposed article is to determine the peculiarities of the formation of the saxophone quartet in the world musical culture of the 19-th century in the unity of performance and compositional creativity. The research methodology is based on the use of the following methods: textological, source studies, and hermeneutics – when processing musicological and sheet music sources on the chosen topic; systemic-historical, which makes it possible to comprehensively consider the saxophone quartet in the context of the history of the development of world wind art of the 19th century. Special attention was paid to the method of personalisation (scientific biography), which helped to outline the contribution of composers to the formation of the original repertoire for the saxophone quartet of the specified chronological period; analytical – when revealing the immanent features of specific works of the analysed genre. The scientific novelty of the work consists in a comprehensive study of the stage of formation of the saxophone quartet in the world musical culture of the 19th century, outlining the specific genre and style features of the first original compositions for the named ensemble. Conclusions. The saxophone quartet is one of the most popular forms of performance on the named instrument. The prerequisites for its formation were the use of a group of saxophones in wind and military bands. The first saxophone quartet originated in the French musical culture of the 19th century. and by the end of the century it had spread to Europe and America. Usually, saxophone quartets toured together with professional concert groups – P. Gilmore, J.-F. Souza, F. Innes and others. The founders of saxophone ensembles were solo performers themselves, in particular, E. Lefebre. Based on the analytical characteristics of the original works for saxophone quartet by J.-B. Singeli, J. Savarі and С. Florio, their immanent genre-stylistic features are determined, such as the reliance on the structure of the four-part classicist string quartet (Quartet op. 53 by J.-B. Singeli and Quartet for Saxophones by J. Savarі), a combination of different types textures, reliance on romantic harmony and melody of operas by authors of the 19th century.

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УЧАСТЬ СПІВАЧКИ ЗОЇ ГАЙДАЙ У МУЗИЧНИХ КОНКУРСАХ В УМОВАХ РАДЯНСЬКОГО ТОТАЛІТАРИЗМУ 1930-х рр.

Author(s): Olena Katsalap / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to investigate one of the aspects of the professional activity of the Ukrainian singer Zoia Gaidai in the 1930s, namely her participation in music competitions during the establishment of the Soviet totalitarian regime. As part of the research, we aim to show the specifics of their organisation and holding, the scale of those creative events, and their significance for the professional development of the professional singer. The research methodology consists in the application of the source study method to analyse archival documents that contain information about Zoia Gaidai’s participation of in music competitions, as well as to study other materials on the topic of the research. The specifically historical method helps to highlight the socio-political processes against which the music competitions took place. The biobibliographic method enables determining the place of this aspect of the singer’s activity in her creative biography. General scientific methods (analysis, synthesis, generalisation) are applied in order to thoroughly study the issue and draw reasoned conclusions. The scientific novelty of the paper consists in the expansion of information about Z. Gaidai’s creative activity in the 1930s, which was supplemented by her participation in music competitions, in the assessment of the level of these competitions, their specificity and opportunities for the achievement of professional aspirations. Conclusions. The performed analysis and evaluation of the results of Z. Gaidai’s participation in the music competitions of 1933 and 1937 helped to reveal the level of her professional competence and professional aspirations. Despite the challenges of those difficult years, the singer managed to win the laureate title of the All-Ukrainian and All-Union competitions, which had a positive effect on the development of her career as a performer. However, the political situation in the USSR did not contribute to the fruition of the dreams to study in Italy, thereby depriving the Ukrainian artist of the opportunity to improve her professional skills and test her talent on the international stage.

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ТВОРЧА ПОСТАТЬ ВАЛЕРІЯ МАТЮХІНА: ДО 45-РІЧЧЯ СТВОРЕННЯ «КИЇВСЬКОЇ КАМЕРАТИ»

Author(s): Andrii Tuchapets / Language(s): Ukrainian Issue: 1/2023

The purpose of the article is to obtain information about the history of «Kyiv Camerata» and Valerii Matiukhin ‒ an outstanding Ukrainian pianist, musical and public figure, as well as a conductor, artistic director and general director of this band. The research methodology is based on historical-biographical and historical-cultural methods. The scientific novelty of the proposed article lies in the fact that most of the given information is provided directly «from the first mouth» and for the first time. This mainly concerns to certain episodes of V. Matiukhin’s biography, related to his school and student years, teachers, views on the performance of modern music and the art of conducting. The article is written in a rather atypical format for a scientific presentation, which is based on the direct speech of the main character. His speech is prepared or supplemented by appropriate explanations of the author of the article, made post factum. This is explained by the fact that the author of the article has been working in this band for more than two decades (since April 2001) and knows it, as they say, «from the inside». But since music is, after all, a non-verbal art, that «speaks for itself», over the years quite a lot of questions have been accumulated regarding the history of the orchestra in general and the creative path of V. Matiukhin in particular ‒ questions that have not yet been clarified in musicology. Therefore, on the occasion of the specified anniversary date, we decided to talk with Valerii Oleksandrovych and bring this conversation to the general public Conclusions. The conducted research confirms that V. Matiukhin has a great deal of credit for the success of the «Kyiv Camerata». Most of the band’s prospects appeared due to the magnetism of his personality, based again on deep knowledge and understanding of the essence of his profession, high internal culture and great modesty. That is why, in the process of communication with the Maestro, we once again became convinced that the study of the activities of an outstanding band must begin with the study of the creative figure of V. Matiukhin.

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Consuming Class. Imagining Upper-Middle Classness through Photography in Vanity Fair

Author(s): Amelie Ochs / Language(s): English Issue: 31/2021

This art historical close-reading enters into dialogue with theories of class and is located at the intersection of visual history, periodical studies and historical consumer research. While the term “consuming class” is closely connected to the present globalized world, the origins of this social phenomenon date back at least to the 19th century. The article examines the ways in which photography is used to imagine this class and its sense of distinction. Taking as its object Vanity Fair’s November 1922 issue, the author analyzes different uses of photography and its relation to readers. Stressing social theories by Thorstein Veblen and C. Wright Mills, she defines the consuming class as an upper-middle class, searching for a point of orientation in high society culture in order to stabilize their own class-consciousness. In this sense, she argues that the visual content of Vanity Fair is rather a presentation for – than a representation of – the consuming class. The article also examines the modern magazine as a display and circulation platform for modern art, photography and advertisement which motivates the visual and social practice of image consumption.

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Filmowe siły natury. Odzyskiwanie reprodukcji jako doświadczenia kobiecego

Author(s): Marta Stańczyk / Language(s): Polish Issue: 32/2022

Reprodukcja od zawsze fascynowała twórców filmowych w swojej niedostępnej transgresyjności, a jednocześnie budziła lęk. Od trikowego Artistic Creation (1901) Waltera Bootha po obrazy awangardowe w stylu Window Water Baby Moving (1959) Stana Brakhage’a przez dekady ta narracja była ujarzmiana, a przez to symbolicznie zabierana kobietom. Celem tego artykułu jest przyjrzenie się wątkom reprodukcyjnym w historii filmu, przede wszystkim wczesnego kina i amerykańskiego kina klasycznego, a następnie skontrastowanie ich z filmem Opera Muffo (1958) Agnés Vardy i umiejscowienie go w kontekście współczesnych teorii korporalnych.

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