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Images of the Body and Corporeality of Indigenous Australians at the Dawn of the 21st Century (Based on Bruce Chatwin’s Perspective and Selected Films)

Images of the Body and Corporeality of Indigenous Australians at the Dawn of the 21st Century (Based on Bruce Chatwin’s Perspective and Selected Films)

Author(s): Jakub Żmidziński / Language(s): English Issue: 62/2023

RESEARCH OBJECTIVE: The research objective of this article is to examine what image of Indigenous Australians emerges from Bruce Chatwin’s well-known novel The Songlines (1987/2008) and selected films produced at the turn of the twentieth and twenty-first centuries also dealing with Australian Aboriginal culture. THE RESEARCH PROBLEM AND METHODS: The analysis of the literary and cinematic work will be carried out here from an anthropological and postcolonial perspective, and is also part of a broadly defined somapoetics. THE PROCESS OF ARGUMENTATION: In the first part, the author focuses on the way female and male characters are portrayed. In the second part, he analyses more complex portraits, those of artists, hunters, ‘actors’ and strong personalities, before concluding with the theme of death. RESEARCH RESULTS: When analysed, Chatwin’s novel appears to be a text with many omissions, presenting a selective image, marked by the author’s ethnocentrism and his insufficiently insightful approach to cultural differences. Earlier films also fail to portray these in a credible way. Later films, however, not only deepen the understanding of historical and contemporary conditions, but also give the floor to representatives of this oldest culture in the world. CONCLUSIONS, INNOVATIONS AND RECOMMENDATIONS: The conclusions of the analysis of the material studied encourage a more critical reading of Chatwin’s novel. They also point to films depicting Indigenous Australians in a way that is free of postcolonial context, their different sensibilities and corporeality.

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Kde se ukrývala Slovanská epopej během druhé světové války

Kde se ukrývala Slovanská epopej během druhé světové války

Author(s): Helena Klímová / Language(s): Czech Issue: 2/2023

Prior to the Second World War, the Czech Lands Archives underwent changes in accordance with the protection of archival materials and employees anticipating the possible hardships of war. The reception guards were reinforced with a new set of rules, the building was equipped with better protection tools, and the glass block windows were covered with interior shutters, etc. Furthermore, plans for building shelters were considered not just for employees but also for the residents of surrounding houses and casual passers-by. Because of a threat of bombardment, the archival materials were moved to lower storeys; not only the valuable archival documents from other institutions but also many artworks were placed in the basement. Depositing Mucha’s Slav Epic in the Czech Lands Archives was debated, although no evidence has been found. The Czech Lands Archives registry reveals not only a large number of documents about carefully preparing to move the artwork to the second repository of the building but also about its further transport to the basement of Slatiňany Castle two years later. These documents filled the information gap about the fate of this monumental work.

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ABOUT THE NEOLITHIC PERIOD AND ITS ART

ABOUT THE NEOLITHIC PERIOD AND ITS ART

Author(s): Ioana-Iulia Olaru / Language(s): Romanian Issue: 35/2023

It is about a period in which, practically, once the evolution of the world ended and the climate became stable, the development of the human being ended as well, neither the physical nor the mental ability of the human being changed fundamentally. The new phase of civilization of the human kind, the Neolithic one, though it is much shorter than the Paleolithic (but also clearly longer than the rest of the future historical periods), came with changes regarding all fields: religion, economy, society, art. All these transformations, named by specialists “the Neolithic revolution” were not installed all of a sudden in the whole world, but the phenomenon of the appearance of the Neolithic happened in different points on this planet, and also the one of ending it, this phenomenon happened in different periods and differently in the world.

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PIERRE FRANCASTEL’S PERSPECTIVE ON THE RELATIONSHIP BETWEEN ART AND SOCIETY, WORKS OF ART AND THE AUTONOMY OF PLASTIC LANGUAGE

PIERRE FRANCASTEL’S PERSPECTIVE ON THE RELATIONSHIP BETWEEN ART AND SOCIETY, WORKS OF ART AND THE AUTONOMY OF PLASTIC LANGUAGE

Author(s): Maria Rodica Iacobescu / Language(s): Romanian Issue: 35/2023

Considered one of the founders of the sociology of art field, Pierre Francastel studied art as a social fact and as a specific type of communication and transformation of the world, irreducible to another. Refusing the traditional debates regarding art, those which seeked its significance beyond its sensitive appearance, but also the previously used methodology in the field of the sociology of art, Francastel establishes a creative reading method of plastic imagery, sustains a relative autonomy of the plastic language and insists upon the fact that works of art must be treated like objects of civilization.

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ПОСТАВАНГАРД І НІМЕЦЬКЕ НЕОБАРОКО ХХІ СТОЛІТТЯ

ПОСТАВАНГАРД І НІМЕЦЬКЕ НЕОБАРОКО ХХІ СТОЛІТТЯ

Author(s): Vasyl Babukhivskyi / Language(s): Ukrainian Issue: 3/2023

The purpose of this work is to identify stylistic clarifications regarding such an all-encompassing and extremely influential direction from the last century as neo-baroque, which was perceived as an offshoot of the overall neoclassicism of the 20th century, taking into account the post-avant-garde contribution from the 1970s and the post-post-avant-garde ("neo-post-avant-garde") addition from 2010s – in the conditions of the German music world. The latter has held basic positions in art music since the times of the Viennese classicism, significantly supplying the repertoire of performance even today. The methodological basis of the study is the intonation approach, as it was noted in the works of B. Asafiev's followers in Ukraine (see the publications of D. Androsova, O. Markova, O. Muravska, and others), as well as based on the development of instrumental performance of the Odesa school (works by Z. Bupkatskyi, K. Muhlberg, other scholars). The scientific novelty of the work is noted due to the originality of the presentation of the meaning of the stylistic diffusions of instrumental art from the 20th to the 21st centuries, which made it possible to revive in the performance of works that bypassed artistry in favour of either church aestheticism of expression or frankly traditionalist thinking, which was not associated with ideas about the stylistic dynamism of German music of the last two centuries. Conclusions. The neo-baroque stylistic eclecticism of German art from the 20th century was based on the contributions of the stylistic extremism of P. Hindemith, which bypassed the "soft" detections in the works of A. Zemlinsky, Z. Wagner, F. Schmidt, and more, leading to the "neo-Schubertianism" of V. Rimm, which became the recognised leader of the German musical world at the break of the post-avant-garde and post-post-avant-garde heritages. Performance practice, performing the works of German post-avant-garde composers at the level of B. Zimmerman, J. Widman, A. Raiman, and other masters, organically combined it with the revival of the legacy of A. Zemlinsky, F. Schreker, Z. Wagner, F. Schmidt, as well as composers of the Baroque era – J. Molter, H. Telemann, and so on, whose thinking did not coincide with the criteria of the author's work of the New Age, but corresponded to the neo-baroque filling of the post-avant-garde with compositions marked by church aestheticism in bypassing the criterion of artistry, which we denote by the term "post-avant-garde neo-baroque" in music.

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ФОРТЕПІАННИЙ КОНЦЕРТ Й.Н. ГУММЕЛЯ № 2 А-MOLL OP. 85  В КОНТЕКСТІ МИСТЕЦТВА «ЛЕГКОГО» ПІАНІЗМУ БІДЕРМАЄРА ПЕРШОЇ ПОЛОВИНИ ХІХ СТОРІЧЧЯ

ФОРТЕПІАННИЙ КОНЦЕРТ Й.Н. ГУММЕЛЯ № 2 А-MOLL OP. 85 В КОНТЕКСТІ МИСТЕЦТВА «ЛЕГКОГО» ПІАНІЗМУ БІДЕРМАЄРА ПЕРШОЇ ПОЛОВИНИ ХІХ СТОРІЧЧЯ

Author(s): Juntao Xuang / Language(s): Ukrainian Issue: 3/2023

The purpose of this study is the analysis of Y.H. Hummel's Second Piano Concerto from the perspective of Biedermeier's positions of "light" ("diamond") pianism of the Restoration era, which deployed saving the spiritual foundations of Rococo in the conditions of secularised art of the post-Vienna school. The methodological basis of the research is the intonation approach of the school of B. Asafyev in Ukraine, which is embodied in the works of D. Androsova, O. Markova, O. Muravska, L. Shevchenko and has direct implications for the institutions of Chinese musicology (see the works of Ma Wei, Wu Golin, others). The specifics of the methods of historical-descriptive, musicological analytical, cultural, stylistic comparative, interdisciplinary approach make up the specifics of the research apparatus of the author of the essay. The scientific novelty of the work is revealed in the fact that, for the first time in Ukrainian and Chinese musicology, the so-called Concerto of Y.H. Hummel is analysed in the light of the positions of Biedermeier's "diamond" pianism of "light play" in the continuation of Mozartianism in piano works (based on the works of D. Androsova and L. Shevchenko) and in the development of the concept of neo-symbolism of post-avant-garde modernity according to O. Markova in relation to the performing revival of Hummel's heritage. Conclusions. Piano concert by Y.N. Hummel's A-moll op. 85 is marked by the advantages of pianistic lyrical flourishes over the manifestations of theatrical drama. The predominance of the lyricism of piano flourishes feeds the positions of romanticism against the background of Biedermeier's ideal expressive instructions, inspired by religious sobriety and, like Rococo art, addressed to the ideal aspirations of the soul and a harmonious worldview. In the Concerto, we rely on Mozartian tectonics (the theme of the soloist in the second exposition, mainly a compensatory function of the orchestra), the structure is dominated by exposition, which "washes away" the sonata relations. The predominant position of "piano lyricism" of ultra-fast finger "small technique", the presence of genres (signs of march, nocturne, anthem) in the expressiveness of themes, "obliteration" of tempo-textural contrasts between the extreme and middle parts of the cycle are evident. The features of crescendoing drama with increasing movement intensity from the beginning to the end of the concert cycle in a two-phase (Parts I-II-III) presentation of energy accumulation are revealed, which corresponds to the two-phase nature of the early Christian liturgy honoured by the Biedermeier culture.

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Tauroctony Relief from Dardagan Revisited

Tauroctony Relief from Dardagan Revisited

Author(s): Nirvana SILNOVIĆ / Language(s): English Issue: 7/2023

This paper examines the tauroctony relief from the village Dardagan, near Zvornik (Bosnia and Herzegovina), and proposes a new interpretation of the monument. Contrary to previous views, which deemed the relief as a primitive work executed by an unskilled sculptor, the careful analysis of its stylistic, compositional, and iconographic features, as argued in the paper, reveals its semi-finished nature. Since the existence of the workshop at the quarry in Dardagan was recently proven, the tauroctony relief is interpreted as its product. Moreover, it is the sole evidence that, besides funerary monuments and architectural elements, the workshop also produced votive images for specific cults. The tauroctony from Dardagan represents a unique instance of a semi-finished Mithraic sculpture discovered at its production site within the Roman province of Dalmatia. Furthermore, an examination of archaeological reports and original photographs of Milica Kosorić allowed for a better understanding of the context of the tauroctony’s discovery, providing new insights into the small finds and rock-carved figures so far associated with the cult. It is argued that these finds cannot be linked to the cult of Mithras and that the existence of the mithraeum at the site remains hypothetical.

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INTERVIEW: DE MOLIÈRE À NOS JOURS : L’ENSEIGNEMENT DU THÉÂTRE PAR LA MÉLODIE, LE RYTHME ET L’HARMONIE

INTERVIEW: DE MOLIÈRE À NOS JOURS : L’ENSEIGNEMENT DU THÉÂTRE PAR LA MÉLODIE, LE RYTHME ET L’HARMONIE

Author(s): Ștefana Pop-Curșeu,Jean-Jacques Lemêtre / Language(s): French Issue: 2/2023

Interview with Jean-Jacques Lemêtre by Ștefana Pop-Curșeu

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Mosque of Ibn Tulun in Cairo

Mosque of Ibn Tulun in Cairo

Author(s): Katarina Majski / Language(s): English Issue: 13/2023

The aim of this paper is a more detailed analysis of Ibn Tulun’s Mosque in Cairo, with a particular focus on the symbolic and historical significance of architecture generally applicable to all mosques. Additionally, the paper aims to highlight the distinct architectural elements that make Ibn Tulun’s Mosque unique within the context of early Islamic art in Egypt, as a result of the specific historical and political circumstances under which it was constructed.

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Vizuelni identitet Marije Terezije kao carice-udovice (kaiserinwitwe)

Vizuelni identitet Marije Terezije kao carice-udovice (kaiserinwitwe)

Author(s): Pavle Vlatković / Language(s): Serbian Issue: 13/2023

Maria Theresa ruled from 1740 to 1780 as one of the most powerful and influential rulers in history. To fully understand the complex nature of her reign and her political persona, one must understand the specific circumstances that led to her ascension, her government apparatus, her relationship with her husband Francis I, Holy Roman Emperor, and her personal characteristics. All of these elements, when considered together, contributed significantly to the formation of her visual identity, which underwent a dramatic transformation after her husband’s death. It is this shift in visual identity that will be explored in this paper. First, her rise to power and her coronation will be discussed as key elements in shaping her policies and visual identity. This will be followed by a discussion on how she presented herself and displayed her authority prior to her husband’s passing. The focus of the article will be its second part, which will discuss the numerous changes that occurred following the death of Francis I and how these changes were reflected in the visual representation of Maria Theresa – her everyday appearance, changes in court ceremonies, organization of space in Schönbrunn and, most importantly, the modifications of her portraits. The appearance of Maria Theresa after the death of her husband is certainly an innovation in European culture, given that she was the first widow that displayed political power in her portraits, a practice that was not customary during that period.

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Amprenta etnografică în comunităţile prahovene Izvoarele şi Măneciu

Amprenta etnografică în comunităţile prahovene Izvoarele şi Măneciu

Author(s): Constantin Marin / Language(s): Romanian Issue: 23/2023

The present article intends to discuss the manner in which ethnographic “imprints” could be identified in the study of artisans from two contemporary villages in Prahova County, Romania. Indeed, as far as biographic narratives, artefacts and ornamental designs in the making of musical instruments, naïve painting, and weaving do highlight the technical expertise and handwork of local craftsmen, such evidence show their relevance for the processes of acquiring necessary knowledge and skills in performing folk arts. While the processes of enculturation and education both reveal their importance in the artisans’ apprenticeship within kinship structures and, respectively, in the school institutional framework, another process – that of imprinting – seems to basically account for the same artisans’ initial receptivity and choice for pursuing their traditional crafts.

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CÍSAŘŠTÍ HUDEBNÍCI V ÚČTECH DVORA RUDOLFA II.

CÍSAŘŠTÍ HUDEBNÍCI V ÚČTECH DVORA RUDOLFA II.

Author(s): Lukáš M. Vytlačil / Language(s): Czech Issue: 1/2020

Review of: Žáčková Rossi, Michaela: The Musicians at the Court of Rudolf II. The Musical Entourage of Rudolf II (1576–1612) Reconstructed from the Imperial Accounting Ledgers, KLP – Koniasch Latin Press. Prague 2017, 255 s.

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PATRIMONIUL HERALDIC AL MUNICIPIULUI TIMIȘOARA

PATRIMONIUL HERALDIC AL MUNICIPIULUI TIMIȘOARA

Author(s): Drăgan-George Basarabă / Language(s): Romanian Issue: 1/2022

This paper aims to paint an image of the monumental heraldry found in Timișoara, one of the most important urban settlements in Romania. As the study of monumental heraldry in Romania has mainly been conducted in Transylvania, Wallachia and Moldavia, we are now focused on Banat, representing the first such research in this Romanian province. Thus, we catalogued and studied more than 80 coats of arms found on buildings or monuments of Timișoara and then chose 12 of the ones that best represent its heraldic spirit for a thorough analysis.The results perfectly describe the historical course of Timișoara, as its heraldic history starts with the Habsburg conquest of 1716 and the Baroque heraldry brought by the victors. It is in this period – when the city served as the capital of the Banate of Timișoara – that we find the first coats of arms in the city: those of the aforementioned banate, and those of the Serbian Orthodox Bishopric of Timișoara. As the city was also the seat of the Roman-Catholic Bishopric of Cenad (later of Timișoara), the heraldic insignia of their respective bishops are also found within the city. During the 19th century, after Timișoara was incorporated into the Kingdom of Hungary, a new nobility arose in Banat, whose arms we can also find in the city. This being said, almost half of all monumental coats of arms that ever existed in Timișoara are stately, administrative or territorial – in stark contrast to Bucharest or Cluj, which were cities of the aristocracy, whose presence heavily influenced their monumental heraldry.

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ÎNVELITORI DIN LEMN PE MONUMENTE DE CULT DIN MOLDOVA – SPECIFICUL REGIONAL ŞI PROBLEMA DISPARIŢIEI UNUI MEŞTEŞUG

ÎNVELITORI DIN LEMN PE MONUMENTE DE CULT DIN MOLDOVA – SPECIFICUL REGIONAL ŞI PROBLEMA DISPARIŢIEI UNUI MEŞTEŞUG

Author(s): Celina Gora / Language(s): Romanian Issue: 1/2022

The present study analyzes the specificity of wooden shingle roofing systems in the Moldova region, and respectively the dispersion pattern of the regional styles over the last century and a half with a research focus on monument churches. The field-gathered data is visually translated onto maps and grouped by shingle shape and laying method in sets. For this research, several large historical archives have been consulted, most notably that of the National Heritage Institute (Institutul Naţional al Patrimoniului). Data analysis prompted the following conclusions: firstly, the imminent extinction of the shingle-making and laying crafts in the rural areas of Moldova as modern materials emerge as a cheaper alternative; secondly, the need to maintain wooden shingle roofs has prompted the import of craftsmen from the region of Maramureş with little consideration for the vernacular shingle roofing styles in Moldova. Lastly, this study is the first of its kind to deal with wooden shingles as a central motive in a context of loss and transformation regarding the immaterial heritage of the Moldavian wooden civilization.

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ANOTYPY – UNIKATOWE DZIEWIĘTNASTOWIECZNE FOTOGRAFIE NA PŁÓTNIE. OMÓWIENIE DWÓCH OBIEKTÓW ZE ZBIORÓW BIBLIOTEKI KÓRNICKIEJ ORAZ KILKA SŁÓW NA TEMAT HISTORII TECHNIKI PANOTYPY – UNIKATOWE DZIEWIĘTNASTOWIECZNE FOTOGRAFIE NA PŁÓTNIE. OMÓWIENIE DWÓCH OBIE

ANOTYPY – UNIKATOWE DZIEWIĘTNASTOWIECZNE FOTOGRAFIE NA PŁÓTNIE. OMÓWIENIE DWÓCH OBIEKTÓW ZE ZBIORÓW BIBLIOTEKI KÓRNICKIEJ ORAZ KILKA SŁÓW NA TEMAT HISTORII TECHNIKI PANOTYPY – UNIKATOWE DZIEWIĘTNASTOWIECZNE FOTOGRAFIE NA PŁÓTNIE. OMÓWIENIE DWÓCH OBIE

Author(s): Tomasz Kozielec,Marta Nalaskowska / Language(s): Polish Issue: 38/2021

This paper presents two photographs referred to as pannotypes (from the Latin word pannus) from an album of photographs. It discusses the history of the pannotype technique, which was popular in the 1850s and 1860s in photography ateliers all over the world (it presents a review of materials and substances used in this technique and the transferring of the negative layer onto a black, flexible substrate). Pannotype is one of the most interesting techniques used in the 19th century. The paper then discusses the Kórnik photographs, the people they show, and their dimensions and structural features. Some conservation-related remarks on the susceptibility of precious objects of this type to damage also follow.

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Representations of Non-Being in David Lynch’s Eraserhead, Edmund Elias Merhige’s Begotten, and Darren Aronofsky’s Pi: A Comparative Analysis from Indian Philosophy Perspectives
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Representations of Non-Being in David Lynch’s Eraserhead, Edmund Elias Merhige’s Begotten, and Darren Aronofsky’s Pi: A Comparative Analysis from Indian Philosophy Perspectives

Author(s): Cristian Pașcalău / Language(s): English Issue: 41/2023

Cinema, as an artistic medium, has often explored profound existential questions and deeply inquired themes such as the relationship between Being and Non-Being. This study centers on three enigmatic films: Eraserhead, Begotten, and Pi, known for their surreal and contemplative nature. I investigate how these films convey representations of Non-Being and examine their potential ties to Indian philosophical perspectives on existence. The discussion will encompass various elements such as narrative, cinematography, symbolism, and motifs which contribute to the exploration of Non-Being. I explore common threads and distinct approaches to the theme, providing a broader understanding of how filmmakers use their art to grapple with existential questions. The analysis deals with the notions of reality, illusion, emptiness, and the interconnectedness of all existence. Exploring how these films offer unique insights into ontological themes and the nature of existence through a comparative approach, I aim to elucidate the filmmakers’ creative depictions of Non-Being and their potential connections to Eastern philosophical thought, either aligning with or challenging Indian philosophical perspectives (such as Advaita Vedanta, Buddhism, and Jainism) on the human experience and the nature of reality.

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PROPAGANDA ISTORICĂ ȘI CULTURALĂ REFLECTATĂ ÎN COLECŢII GRAFICE MUZEALE

PROPAGANDA ISTORICĂ ȘI CULTURALĂ REFLECTATĂ ÎN COLECŢII GRAFICE MUZEALE

Author(s): Claudia M. Bonţa / Language(s): Romanian Issue: 33/2023

The Erdélyi Museum in Cluj, the forerunner of the National Museum of History of Transylvania in Cluj‑Napoca, was established in 1859, at a peak moment in terms of interest in national history. Graphic portraits are an important sample of collections and motivation is given by the desire to draw educational directions in the knowledge of the general public. Researching the old museum collections we note that an essential element in the Transylvanian educational program was the promotion of the cult of the great historical and cultural personalities of Europe. This trend is particularly visible in the graphic arts where in the 19th century lithography was required, which offered the possibility of multiplying the prints at affordable costs. Characters belonging to Transylvanian space, culture and history were preferred, but the graphic collections also enjoy important European personalities.

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CONCEPT ȘI IDENTITATE ÎN REINTERPRETAREA UNUI MONUMENT DE SCULPTURĂ BAROCĂ DIN TIMIȘOARA

CONCEPT ȘI IDENTITATE ÎN REINTERPRETAREA UNUI MONUMENT DE SCULPTURĂ BAROCĂ DIN TIMIȘOARA

Author(s): Mihaela Vlăsceanu / Language(s): Romanian Issue: 33/2023

This article attempts to give new impetus to the research on writing history from monuments as primary sources, especially when written sources are missing or lacking completely as an exercise of documenting a historical period. The case study we are conducting our investigation on is the monument to Trinity (the only one that has a sketch and was often considered a work of G.R. Donner) in Timişoara which is analysed through historical–documentary sources and the interpretative frameworks of the iconography and iconology as parts of the Pietas austriaca phenomenon. Reflecting various identity concepts, the visual propaganda of these types of monuments stands as highly symbolic and having a function of social coagulation through an Enlightened Catholicism. An analysis of the stylistic traits in the manner of shape, interpretation and content, highlight the idea that G.R. Donner could have authored sketches, and the monument to trinity of Timişoara, but it was a disciple of his academic circle in Vienna, that could have authored the monument raised after the plague episode of 1738–1739 in Timişoara. The article answers to why were these monuments used as a projection of Catholic propaganda in public spaces in disseminating the principles of a church that helped political power. Moreover, the discourse becomes productive framework for future exploration situating the monument within a global art historical context and a survey of doctrina imaginis advocated. A stylistic analysis of several certified works of the author highlighted a classicizing late baroque formula as the style of the Banat in the century of the Enlightenment.

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SOVIET MUSIC IN INTERWAR YUGOSLAVIA

SOVIET MUSIC IN INTERWAR YUGOSLAVIA

Author(s): Marija Golubović / Language(s): English Issue: 3/2023

This paper will present the presence of Soviet music on the musical scene of the Kingdom of SCS/Yugoslavia. Analysis of newspaper articles and critiques, texts from music magazines, and other writings about Soviet music will demonstrate that it was present on concert stages, even though the Kingdom of Yugoslavia refrained from establishing relations with the Soviet Union until June 1940.

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The group of paintings Oświęcim/Auschwitz (1947-1955) by Xawery Dunikowski - the artistic testimony of borderline experience

The group of paintings Oświęcim/Auschwitz (1947-1955) by Xawery Dunikowski - the artistic testimony of borderline experience

Author(s): Karolina Tomczak / Language(s): English Issue: 11/2023

This article presents an analysis of Xawery Dunikowski’s post-war paintings, a testimony to his stay in the Auschwitz concentration camp, i.e. the canvases of the cycle Oświęcim/Auschwitz (1947–1955). Based on this infrequently discussed kind of art, an attempt has been made to describe the visual representation of borderline experience, which, according to Georges Didi-Huberman, is a “tear-image” or a glimpse of an incomprehensible unprecedented truth, urging to a particularly cruel imaginability or, as Luiza Nader puts it, an expression of “affective memory”. At the same time, the considerations contribute to the research discourse on whether or to what extent it is possible to express the experience of a Konzentrationslager (or, more broadly, the Second World War) in visual representation. The complex issues and stylistics of these works are discussed in the light of methodology concerning the trauma of a witness, an affective observer, a surviving victim (Jacek Leociak, Aleida Assmann, Dominick LaCapra) and its evocation in the image (Didi-Huberman, Nader) thus allowing to consider them as a necessary artistic catharsis of the author of Tchnienie/A Breath of Air. At the same time, it has been pointed out that the painting of Dunikowski, a sculptor, individually reformulated in the artistic medium, non-masterly and in search of their own expression, is a recontextualising confirmation of his status as a modernist artist.

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