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TECHNOLOGICAL IMMERSION – CONCEPT IN 21st CENTURY ARCHITECTURE

Author(s): Claudiu-Alexandru TUDORAN / Language(s): Romanian Issue: 26/2021

Technology has always evolved faster than architecture. Still, architects tried to keep up with the changes and the tendencies of the society. Therefore, although changes in architecture are slower, they still persist, so the discipline is constantly updated – both theoretically and practically. Architects also have to find a creative potential for the new technologies. In this way architecture will be able to enter a new field of activity in the digital age: to produce completely authentic environments and experiences.

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WOMEN AS SEXUAL OBJECTS IN YOU ONLY LIVE TWICE (LEWIS GILBERT, 1967)

Author(s): Dragoș Zetu / Language(s): Romanian Issue: 27/2021

Women have always been a key element in the James Bond mythology. They have defined the British agent and his entire outlook on life. Their characterization has never been unitary, so that their image cannot be seen as homogeneous. However, You Only Live Twice represents a major setback for representations of women in Bond movies when compared to other films from the first decade of the franchise like Goldfinger or On Her Majesty’s Secret Service. This study discusses various aspect of the dynamic relationship between Bond and women in the fifth movie of the Bond franchise.

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ქრისტიანული საოცრება: „სუმელას“ მონასტერი თურქეთში

Author(s): Rezo Adamia / Language(s): Georgian Issue: 2/2021

The article expresses the deep emotions of the writer and painter felt after seeing the Trinity Cathedral located in the mountains near the city of Trabzon in Turkey. The author shares his thoughts about the Christian era of the history of the Laz, the cultural – historical remnant of which is the Trinity Cathedral.

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SPORT AND ART - ABOUT THE AESTHETICS OF SPORT

Author(s): Denisa Elena PETREHUŞ / Language(s): Romanian Issue: 28/2022

It has been said that even sport can be considered art, the eighth art ... H. Lenk even published a work entitled "The Eighth Art", advocating an incorporation of sport among the arts. In the same vein, establishing that since ancient times sport has been considered "a kind of art", the Greek philosopher Nikos Nissiotis emphasizes the artistic nature of sport. Neighborhood, even kinship, no doubt exists between the arts.

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THE ICON- THE ART OF LIGHT

Author(s): Mihaela Alieta Petrovan (Mircea) / Language(s): Romanian Issue: 28/2022

There is a holy covenant between the Word and the icon, used to defend what is behind the Divine Incarnation and the work of salvation. Where God makes a covenant and communicates through his Word and shows his image, it is important to display both the icon and the word, and their character of mutual relationship in the covenant between God and humanity. Thus, the icon and the Word have the same role, they belong to the same categories, because they are in a relationship of reciprocity, the content of the orthodox icon being represented by the new creation in Christ. The aesthetics of the light and the colors painted in the church help both to identify the protagonists and the reproduced biblical narratives, as well as to recognize the themes that refer to the revelation of God. The iconographic programs seek to visualize the notion of divine enlightenment, using different modes of visual language, the icon thus having the role of painting saints only in the light of the Divine Kingdom.

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JURAJ DVORSKÝ, Od naratívnej gramatiky k interdisciplinarite naratívu

Author(s): David Černín / Language(s): Czech Issue: 01/2019

Review of: JURAJ DVORSKÝ, Od naratívnej gramatiky k interdisciplinarite naratívu, Ružomberok 2017, Katolícka univerzita v Ružomberku, 194 s., ISBN 9788056104286.

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ANNE SINCLAIR, Lieber Picasso, wo bleiben meine Harlekine? Mein Großvater, der Kunsthändler Paul Rosenberg

Author(s): Jiří Pešek / Language(s): Czech Issue: 02/2015

ANNE SINCLAIR, Lieber Picasso, wo bleiben meine Review of: Harlekine? Mein Großvater, der Kunsthändler Paul Rosenberg, München 2013, Verlag Antje Kunstmann GmbH, 208 s., ISBN 978-3-88897-820-3.

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FACTS ABOUT THE TRANSFORMATIONS OF THE NEOLITHIC REVOLUTION. ”ARCHITECTURE”. STONEHENGE

Author(s): Ioana-Iulia Olaru / Language(s): Romanian Issue: 30/2022

In a period in which people “started to create and appreciate beauty” – and the inverted commas here mean that it is only a quotation!... – it is necessary to underline some facts about the historical period itself, first of all regarding the continuous evolution that took place in most fields of life. The man’s creativity and inventiveness were always growing, socially speaking the man was transformed from a hunter-picker into an agriculture and shepherd, the communities became stable; spiritual life became more and more complex, new occupations always appearing, once tools became more useful. All these factors are combined with the necessity of a discussion regarding the theories of installing the phenomenon of Neolithification in the world. Regarding the art of this period, the present material will focus only on the spring of the field of future architecture, presenting some facts about the new vision regarding man’s life where megaliths appeared.

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LIBRARIES FROM BANAT. A HISTORICHAL APPROACH

Author(s): Clara-Maria Constantin / Language(s): Romanian Issue: 30/2022

The researches upon books, libraries, lectures generally speaking, tries to show up many forms to promote the book but also the way in which they organized the libraries. This article shows a perspective upon history and evolution of the Banat libraries, from the private collections to the institutionalized library. There are presented different library categories that worked in the Banat area during time, until the shape and the form of a ,,public library” took place.

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„Европски сабласни плес” Алберта Мартинија 1914–1916.

Author(s): Miroslav P. Lazić / Language(s): Serbian Issue: 1/2023

The article analyzes the distinctive artistic style of the Italian artist Alberto Martini in the context of the First World War. A particular focus is placed on the contents of the lithographs entitled La danza macabre europea, which he produced in five series between 1914 and the first half of 1916. The emphasis is placed on the problematization of the unusual artistic expression inspired by the late medieval motif of the Danse macabre. The relationship between Martini’s unequivocal propagandist motives of the Italian Irredente and the authentic critique of the world war as an unbridled Dance of Death is discussed. The re-actualization of Martini’s drawings during the previous decade, especially on the occasion of the anniversaries related to the First World War, finds its justification in the fact that his work La danza macabre europea, although difficult to understand without knowing the context of the Great War, achieved a permanent, timeless value, going beyond simple propaganda for clients. Martini wants to alarm the entire European public with a message that appeals to humanity and calls for an end to the spiral of catastrophic suffering. Some of his lithographs incredibly boldly attack all of humanity with sharp, obscene, disgusting, and witty satire. All five series are a critique of belligerence, greed, cruelty, hypocrisy, rapacity, exploitation, and imagined and real power. At the same time, Martini left his most poisonous satire for the holders of political power. He paints them in a variety of ways, but almost always with a touch of “macabrocomic”, depending on the context and the message he wants to send to the recipient. All 54 lithographs reproduced as postcards in mentioned series were thoroughly analyzed. Topics, personalities, or events concerning the Balkans are especially covered.

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Inventando la realidad: La adaptación como un juego autorreferencial en „El autor” (2017), de Manuel Martín Cuenca

Author(s): Joanna Aleksandrowicz / Language(s): Spanish Issue: 22/2022

The aim of the article is to analyse Manuel Martín Cuenca’s film The Motive (El autor, 2017) in the context of self-referential games and relationships between reality and invention. The director, adapting Javier Cercas’s short novel The Motive (El móvil, 1987), reflects also on the proximity between cinema and literature. In the film The Motive images of literary creation are mixed with cinematic metaphors. The reality invented by the film’s characters becomes a metafiction and is part of a game that involves the spectator, a characteristic feature of new narrative strategies in contemporary cinema. However, in this case, the meaning of game, concretized in the film’s diegesis as chess, goes beyond the ludic dimension and becomes a way of exposing the paradoxes of creation.

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BIG-DIMENSION RONDE-BOSSE SCULPTURE AND BAS-RELIEFS IN THE NEOLITHIC PERIOD

Author(s): Ioana-Iulia Olaru / Language(s): Romanian Issue: 31/2022

In Neolithic, in big-dimension statuary, the first type was the one of menhir-statues: blocks of stone with one of the faces conventionally rendering a simplified feminine or masculine silhouette, in a basrelief which is a little high; the second type is the one of monumental statues carved in volume, with the same steatopygia as it is the case of statues (thus, all the types of rondebosse sculptures had the same cult destination). The types of reliefs are those that decorate ceremonial structures (menhirs), cultic ones (temples, but also altars, stelae) and funerary ones (tombs). The present material will illustrate ronde-bosse and bas-relief sculpture with representative examples from different regions of Europe, Close or Far East up to the Americs, recording similarities and also peculiar aspects of each region, regarding shapes, dimensions, materials, ornaments.

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MUNARA – manara, ma'dhana

Author(s): Muhamed Hamidović / Language(s): Bosnian,English Issue: 2/2022

Architecture of minaret belongs to the cultural history of pre-Islamic art. The vertical observed in Islam is a semiologically transcedentally metaphoric sign of the téhnē of religious architecture, a gnomon*2 – a phenomenon-configural zodiak chronometer. The phenomenon of fizis-shape is a configural sacral elevation of substance – the immanently articulated purpose in Islam. It means that it is “multifold and multi-faceted, since communication between God and the World, in the form of revelations, proceeds in the distinctive meaning of this world, which transcends the competence of a successful metaphor”. However, as a tangible being, with the sense of its vertical, it also serves to the muwaqqit to implement the acquired knowledge of the “linear time”, al-zaman al-dāirī, (of the role of repeating sequence) to formally mold the principle of its purpose. For a theologian, it represents a three-dimensionally indicated concealed fizis, a medium expressed in the language of architecture which, by harmoniously embedded basis – inner signs of religion, interprets a helical-spiral movement. External appearance of the minaret, a reflecting vertical aligned by constructive segments of drum-halkas and hane-shaft cannelures, indicates immanent shifts of the exposition of sun rays by embodying the shadow on its stones. The minaret also serves to the muezzin, to use the call and the word, the voice of adhan from serefe-balcony (by the Qur'anic-canonical protocol of religious instruction) to alert believers to Him and, by miḥrāb (tur. mihrab, mihrap ← ar. miḥrāb: central niche in the wall of a mosque), to direct to Qiblā (the side of the world where the Ka'ba in Mecca is located) sacramental affection and spiritual feelings.

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CONSTANTIN SILVESTRI – AN OVERVIEW OF PIANO MUSIC

Author(s): Marius Boldea / Language(s): Romanian Issue: 32/2023

The article proposes a detailed overview of Constantin Silvestri's piano works, an exploration of his compositional style and an interpretation of his harmonic, melodic, rhythmic, dynamic, and expressive language. A continuous nuancing of the composer's language is observed throughout the opus, a permanent enrichment of his compositional style. From the neoclassical influences of the Bartók/Stravinsky/Prokofiev type to folkloric accents or the reflections of expressionism, the composer develops a personal language, difficult to fit into a particular style of the modern era, as he tends to incorporate each of them in his own original way, processing them creatively in the rhetoric of his compositional grace. Constantin Silvestri's piano music represents a central profile in the architecture of his compositions, the piano being the most exploited instrument that runs through his entire creation from the first opus, Suitele, to the penultimate, Sonata IV. His piano works are distinguished by twelve opus, which can be divided into two stylistic periods: the first, neoclassical (of his youth), and the second expressionist (with moments of stylised folklore), in the last opus.

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SPLENDOR POŻYWIENIA O KOMUNIKACYJNYCH FUNKCJACH PRZEDSTAWIEŃ DARÓW NATURY W SZTUCE EUROPEJSKIEJ

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SPLENDOR POŻYWIENIA O KOMUNIKACYJNYCH FUNKCJACH PRZEDSTAWIEŃ DARÓW NATURY W SZTUCE EUROPEJSKIEJ

Author(s): Małgorzata Wrześniak / Language(s): Polish Issue: 1/2022

An analysis of iconographic material related to the representations, used in art, of the gifts of nature shows their diversifi ed functions and meanings. The meanings conveyed by images of food depend not only on their position in a given artefact (as a central scene, a background scene or a decorative motif), but also on the broad historical-cultural context that shapes the symbolic content of the images: from clear, or even obvious, religious connotations, to moral guidelines, to references of implicitly erotic nature. The present article proposes a general classifi cation of the iconographic material in question, to discuss some topics related to the food images present in culture, and to identify communication functions of such images in art and in fashion. The classifi cation is the basis for refl ection on symbolic content communicated throughout history via images of vegetables, fruit and different kinds of meat shown in market and kitchen scenes, as well as in vanitas still lifes that refer to biblical themes or are of moralizing nature. The paper addresses also the symbolism of food in contemporary fashion and luxury goods advertising. Fruit and vegetables depicted in such contexts refer to the meanings well established in art history, those of abundance and fulfi llment which comprises also reaching for what is forbidden.

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PROPOZYCJE „ETHOSU”

Author(s): P. M. / Language(s): Polish Issue: 4/2022

Books recommended by Ethos: Przemysław Krzywoszyński, Jan Woleński, Fenomen opery, Universitas, Kraków 2022, ss. 280.

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Hvalevrijedan teatrološki napor

Author(s): Dragan Komadina / Language(s): Bosnian Issue: 89-90/2023

Review of: Tina Laco, Bosanskohercegovačka teatrologija nakon Drugoga svjetskog rata (Sarajevo: Muzej književnosti i pozorišne umjetnosti Bosne i Hercegovine, 2022)

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THE CLOSE-UP: A PICTURE IS WORTH A THOUSAND WORDS

Author(s): Mădălina Eugenia Ciucu (Răsniceanu) / Language(s): Romanian Issue: 33/2023

Through the cinematographic adaptations made, with valuable literary works as baseground, the filmmaker (re)composes narrative subjects in the form of film performances, with an impact on the public. Being a cinematographic art, the screenings harmoniously combine the image and the word, creating poetic structures, carrying deep meanings. One of the means of cinematographic expression, especially relevant, is the close-up image. This type of image is an objective one and focuses on elements or beings of particular importance in the perception of the film speech, and the discovery of the focused subjects - by the viewer, through the eyes of the protagonist - has as a consequence the rethinking of the information provided by the story up to that moment and stored in memory, as well as restoring the meaning of film creation. The purpose of using the close-up is to give suspense to the action, either by anticipating or highlighting a state or event belonging to the story which is played. Depending on the object chosen to build up the close-up and depending on the moment of its placement on the axis of the narrative, the filmmaker also fixes its meaning, which the viewer must decode. In the screen adaptation of Camil Petrescu's novel, Ultima noapte de dragoste, întâia noapte de război, (1979), screenwriter Sergiu Nicolaescu created sequences of great artistic sensitivity, in which the close-up with the faces of the protagonists betrays all the inner turmoil, the varied palette of unverbalized feelings, these images undoubtedly becoming the mirror of the human soul, with everything it possibly feels.

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Orașul Bălți în artele plastice

Author(s): Tudor Stavilă / Language(s): Romanian Issue: 2/2023

In the north of the Republic of Moldova, the city of Bălți is one of the main cultural centers hosting a university, a national theater and a small artistic activity, in relation to the Chișinău events. In this region they were born or have activated important personalities from the field of fine arts from us. To present the artistic events in the city of Bălți, three personalities were selected which were asserted during the Soviet period, with a lesser-known facet of the visual arts in the republic. Lazăr Dubinovschi, Ion Puiu and Leonid Pincevschi, each in his own way, gave color and value to this city, where they once resided, through talent and originality, with the compromises of the period in which they were active.

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The contest scene in EDIII Mesopotamian glyptic art

Author(s): Dorota Ławecka / Language(s): English Issue: XXXI/2022

There are four main protagonists in Early Dynastic III contest scenes: two heroes, a bull-man and a human-headed bull. They are usually involved in guarding herbivores against predators. Contrary to common opinion, the protected herbivores are identified apparently as wild rather than domesticated species. The paper explores the role of the depicted beings, the interactions between them, and the secondary motifs that accompany them in the contest scenes. Despite the many composition variants and some intricacies of interpretation, the scene as such is considered consistent and imbued with a deeper mythological meaning, rather than being a purely ornamental arrangement of random decorative elements. The author observes the association between specific participants and certain elements of the contest scene and the god Utu/Shamash or else the mountainous region east of Mesopotamia. In both instances, the association points to the eastern horizon—a liminal location where the Sun-god rises, a region with the symbolism of rebirth bestowed upon it, where fates are determined and judgments passed—which is the setting suggested for the perpetual contest depicted in Mesopotamian glyptic art.

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