Dzieje pojęcia „Wersal Polski”, czyli językowy obraz świata

Author(s): Karol Łopatecki / Language(s): Polish Issue: 2/2018

The History of the Concept ‘Polish Versailles’, Namely the Verbal Image of the World The article presents the circumstance of creating and applying the concept ‘Polish Versailles’ outside the Polish-Lithuanian Commonwealth. In Białystok, Jan Klemens Branicki created one of the most interesting palace and garden ensembles in 18th-century Europe. The phrase appeared for the first time in German-speaking press in 1752. Despite dozens, and if not hundreds of opportunities of recording sumptuous ceremonies held by Jan Klemens Branicki, the European elites became acquainted with the appearance of Hetman’s residence thanks to the book by Jean-Baptiste Chappe d’Auteroche published in 1768. The physicist described his 1761 trip, when heading for Tobolsk, he stopped only for several hours on the way in Białystok, and he visited the palace and the gardens. The facility was elevated to the rank of the most important palace and garden ensembles in the map of the Polish-Lithuanian Commonwealth published in 1772 by Giovanni Rizzi-Zannoni. Quite exceptional in this respect was the encyclopaedic publication of Anton Friedrich Büsching from 1754 who began endorsing the concept Polnische Versailles. At that time, under Izabela Branicka the palace was living its decline, while the sale of Białystok to Alexander I only slowed down the deterioration process. Büsching, the promoter of the description, verified his opinion in 1786, and stopped applying the concept. The symbol, written down in many popular books, however, survived, and was copied by numerous subsequent artists throughout the whole of the 19th century. The consequence was the clash of travellers’ expectations with the grim realities, this exemplified by the 1814 experience of Casimir Stanislas d’Arpentigny. Such a situation yielded the saying Similar like Białystok and Versailles, applied to describe two totally incongruous elements.

Almanach wrocławski na rok 1495 w katalogu Sichergestellte Kunstwerke im Generalgouvernement, czyli o losach polskich zbiorów artystycznych w okresie II wojny światowej

Author(s): Tadeusz Zadrożny / Language(s): Polish Issue: 4/2018

Wrocław Almanac for 1495 in the Sichergestellte Kunstwerke im Generalgouvernement Catalogue. From the Research into the History of Polish Artistic Collections during WW II It is the Wrocław Almanac for 1495 (GW 1502) from the collection of the Jagiellonian Library in Kraków (Inc. 1979), included in the Sichergestellte Kunstwerke im Generalgouvernement Catalogue, elaborated and printed in the first half of the 1940, that is discussed in the paper. The Catalogue was not a publication in circulation, but a sumptuous canvas-bound volume printed in merely over a hundred copies, and containing the report of Kajetan Mühlmann, fulfilling his mission of the Sonderbeauftragte für die Erfassung und Sicherung der Kunst- und Kulturschätze, namely of the Special Delegate for the Registration and Securing of Artistic and Cultural Treasures on the Former Polish Occupied Territories, from the first stage of his activities and those of his office from October 1939 to June 1940. The mission’s goal was to catalogue, as well as make a qualitative selection and secure items valuable from the point of view of the interest of the German State from among the Polish artistic collections on the territory of the General Government, i.e. Polish occupied territories. According to the introduction to the Catalogue, the Special Delegate and his co-workers were supposed to demonstrate their exceptional efficiency, in merely six months overtaking all the artistic resources in the occupied country, while also studying them at the same time. The author of the Introduction, possibly Kajetan Mühlmann himself, questioned, or more strictly speaking, negated an independent development of Polish art, demonstrating the impact of the German culture in Eastern Europe. Moreover, he boasted that all the works recorded in the Catalogue, and of European standing, regardless of their place of origin, essentially expressed, also in their character, only the German spirit, proving the power of German culture. The undertone of the Introduction, as well as the used phrases, and the meticulously lavish cover of the Catalogue prove that it was a purposefully and unequivocally work of a propaganda, while the seemingly academic claims they contained were groundless. When analyzing the description of the 1495 Wrocław Almanac in the Sichergestellte Kunstwerke im Generalgouvernement Catalogue, the Author was determined to thoroughly analyze the external form of the print, its factual contents, as well as the woodcut decoration enriching the Almanac. He also traced all the changes occurring in the bibliographic records, and subsequent stages of the research into the item, particularly sensitive to any fake trails that occasionally appeared, and which subsequently undertaken by scholars or bibliographers, could reveal their inspirations. Consistently following his adopted method, the Author proved that the note by the German functionary and related to the Wrocław Almanac was based on the note by Zofia Ameisen published in 1929 in Volume 69 of the Einblattdrucke des Fünfzehnten Jahrhunderts series, accepted uncritically, with no verification, merely substantially reduced. The putting together the descriptions of other items selected for the Catalogue part dedicated to graphic art and actually limited to graphic incunabulistics allows to state that the German functionary, representative of the office of the Special Delegate who decided which objects were to be selected for confiscation, and later elaborated, and who put together the notes in this section, in all of the activities was dependant on the earlier publications by Prof. Ameisen, a custodian at the Jagiellonian Library, of Jewish descent, at the time away from Kraków, staying in Łuck, thus on the territories occupied by the Soviets. As has been ascertained by the paper’s Author, the German functionary Werner Kudlich, administrator of the Regional Museum in Opawa, a PhD, was appointed a functionary in the Office of the Special Delegate while being enrolled in the SS Totenkopf-Standarte formed at the time in occupied Kraków. Not knowing the whole collection, he selected those objects that had been earlier elaborated, so they had already been noticed, their value confirmed, and what was more, a ready-made description was available. From the 27 objects selected for confiscation and described in the Sichergestellte Kunstwerke im Generalgouvernement, which were extremely rare or almost unique prints, only one incunabulum containing 14 coloured wood engravings, namely Passio Domini Jesu Christi secundum quattuor Evangelia [German], Augsburg: Johann Bämler, 1475, returned to the Jagiellonian Library after WW II. Others, the rest of the 27 objects, are still wartime loses.

Hugo Steiner-Prag und die Bühnenausstattung zur Oper „Golem“ von Eugen d'Albert

Author(s): David Chaloupka / Language(s): German Issue: 1/1997

This article examines the work of Hugo Steiner-Prag, a Czech-born artist who designed the stage and costumes for the opera "Der Golem" by Eugen d'Albert in 1927. The article analyzes the sources, influences, and symbolism of Steiner-Prag's scenic conception, which drew on the Golem legend, the expressionist aesthetics, and the historical and cultural context of Prague. The article also compares Steiner-Prag's work with other artistic representations of the Golem, such as the films by Paul Wegener and the illustrations by Gustav Meyrink. The article concludes that Steiner-Prag's contribution to the opera was innovative and original, and that he created a powerful visual interpretation of the Golem theme.

Remiksowanie iluzji. Krzysztofa Wieczorka droga od grafiki do malarstwa

Author(s): Dariusz Leśnikowski / Language(s): Polish Issue: 11/2023

Krzysztof Wieczorek, a Lodz-based artist who died in 2021, was an outstanding printmaker. In his creative pursuit, he revealed himself as an inquisitive modern mannerist. In his works, he “processed”, among other things, quotations from the paintings and prints of Hercules Seghers. Fragments of landscapes created by the Dutch artist complemented the landscape composed by the Polish artist.Wieczorek used various graphic and painterly interventions to complete the picture. These efforts were aimed at differentiating the prints from the edition, making them unique. In his artwork Krzysztof Wieczorek used previously made matrices, also their fragments, juxtaposing them in various configurations. We can speak here of a kind of “remixing” of the artistic content. Wieczorek created variants of images and even sequences of them. The successive modifications of the graphic background were made largely through complex actions of a painting character.In Wieczorek’s works, the base is both a homogeneous graphic print and their collage. The component parts could be executed in the etching technique, aquatint, mezzotint, drypoint, or come from a computer printout. The choice of technique (or techniques), the degree of destruction of the matrix (carried out, for example, by roughening, engraving and etching the surface) determined to some extent the further actions of the artist. So did the use of coloured papers for printing. The artist also experimented with substrates, using surfaces of canvas, cardboard or wood for his compositions. The graphic’s background was subjected to the painting interventions. The artist applied a layer of watercolour, oil or acrylic paint to the surface of the graphic. He would impregnate the surfaces with varnishes.The essence of the creative inquiry undertaken by Krzysztof Wieczorek, of course, lies in maintaining a balance between the technical and technological aspects and the aesthetic qualities of the work and the content determined by the elements of the depicted world. In his search, the artist addressed the complex relations between what is graphic and what belongs to the painting domain. He was looking for a universal, integral language of visual communication.

Fabryka Wyrobów Metalowych Famak – zapomniana firma łódzka

Author(s): Łukasz Grzejszczak / Language(s): Polish Issue: 11/2023

The article presents the pioneering results of research on the history of Fabryka Wyrobów Metalowych Famak, the largest manufacturer of cutlery and table accessories in Łódź in the 1920s. So far, the literature on the subject has not dealt with issues related to the activities of Łódź – based companies producing clad products. The creation of the plant, its history and production profile are described.

Młyny czasu. Mąka

Author(s): Krzysztof Cichoń / Language(s): Polish Issue: 11/2023

INTERIOR DESIGN IN THE RESTORATION OF THE NATIONAL MUSEUM OF PLASTIC ARTS OF MOLDOVA

Author(s): Liliana Platon / Language(s): English Issue: 4/2021

This paper presents a scientific analysis of interior design in the restoration process of the National Museum of Arts of Moldova. The interior design segment is historically researched through the genre of architecture, from the historical compartment of the XIX-XX century. In the same context, several works of various architects who designed important constructions in Kishinev are analyzed. The study highlights the role and responsibility of interior design in the process of restoration and capitalization of the national cultural heritage. It also analyzes the correspondence or synchronization of new implementations in design with the stylistic concept achieved in the historical period.

EXPLOITATION DIDACTIQUE D’UNE PIÈCE DE THÉÂTRE EN CLASSE DE FLE – APPRENDRE LE FRANÇAIS PAR LE THÉÂTRE

Author(s): Ileana Mihaela Chirițescu / Language(s): French Issue: 1/2022

Learning French through theater is one of the modern methods of learning, methods that are put at the service of a new didactics of teaching French. Theater performances can be a real motivation for students when used as a teaching aid for foreign language courses. Used as a teaching tool, theater has the ability to raise awareness and encourage students, as well as the strength to bring them effectively closer to the roots of the language studied. Theater means symbols that include characters, makeup, costumes, music, colors, soundtrack, painting. According to his vision, each person has an illusion about the world of theater performance – poetic, sentimental, cheerful, sad or melancholic illusion. With the help of all the artistic processes they have learned and which are at their disposal, each spectator and each actor transforms, in one way or another, into authors of the show, whose mission is to faithfully reproduce his own kind of illusion.

LINGUISTIC ANALYSIS OF ENGLISH PHOTOGRAPHY TERMINOLOGY

Author(s): Inga Stoianova / Language(s): English Issue: 1/2022

The purpose of the present investigation is to perform a linguistic analysis of the English vocabulary of photography as a means of professional communication. The research includes a brief historical introduction to the progress of photography (diachronic approach) to study the (co)relationship between the development of photographic science and enrichment of its specialized lexical fund based on newly formed scientific concepts. The concept and quantitative analysis of the studied corpus established the predominance of the terminological units that are part of the conceptual groups, denoting the photo camera and its settings, photo editing and printing, lighting, photography metering, and issues. The ways of formation of English terminology of photography were investigated using structural, morphological, and componential analyses. The data acquired showed a variable number of terminological units formed according to various structural models. In the process of photographic terminology formation, substantive type of terminological combinations predominates, followed by the derivative units, simple and compound terminological units. Photography abbreviations as a form of language, time, and space economy were also structurally and semantically studied.

О ПОЧЕЦИМА ПРОФИЛИСАЊА ВИЗАНТОЛОШКЕ МУЗИКОЛОГИЈЕ У СРБИЈИ: ДОМЕТИ И СТРАНПУТИЦЕ

Author(s): Vesna Sara Peno / Language(s): Serbian Issue: 60/1/2023

The paper presents the circumstances in which musicological medievalism emerged in Serbia after the Second World War as a separate discipline within the research projects of the newly founded Institute of Musicology of the Serbian Academy of Sciences. It focuses on the contributions of three first musicologists medievalists: Miloš Velimirović, Stojan Lazarević and Dimitrije Stefanović. It outlines the conditions under which these researchers adopted the methodological principles of the Western musicological school – Monumenta Musicae Byzantinae – which were current at the time but soon became outdated. In light of the disagreements among Western and Greek scholars regarding the approach to the interpretation of the development of neumatic notation immediately before and after the fall of Byzantium, the paper also shows the personal scholarly credo and interests of certain Serbian researchers, as well as their (un)willingness to adopt and even present new knowledge and trends to the wider academic community.

REVISITING THE VELJUSA FRESCOES: NOTES ON THE ICONOGRAPHIC PROGRAM OF THE SOUTH PAREKKLESION

Author(s): Miloš Živković,Ljubomir Milanović / Language(s): English Issue: 60/2/2023

The paper discusses the iconographic program of the frescoes in the south parekklesion of the Church of the Virgin Eleousa at the Veljusa Monastery, the foundation of Manuel, Bishop of Strumitza, built in 1080. It focuses on the figure of St. Niphon or, more specifically, the cult and iconography of this saint, whose representations in art are quite uncommon. It considers several images of St. Niphon in Serbian medieval painting that previous research has failed to take into account. Then, it reexamines the view that this saint was the patron of the chapel, especially the claim that one of his visions was painted in the apse.

Η ΣΕΛΑΣΦΟΡΟΣ – ПРИЗРЕНСКЕ ПРЕДСТАВЕ БОГОРОДИЦЕ СВЕТЛОНОСИЦЕ

Author(s): Dragan Vojvodić / Language(s): Serbian Issue: 60/2/2023

The paper discusses the distinctive and mutually almost identical apsidal representations in three churches in Prizren and its area. They comprise the Virgin enthroned, the Child Christ in her lap, and the archangels bowing to them, their wings raised along the edge of the conch. In two of those monuments, the accompanying inscription describes the Mother of God as the Light-bearer (ἡ Σελασφόρος). This epithet has not been recorded so far in her depictions in Byzantine and post-Byzantine art. Whatever the origin of the distinctive solution in the apses of the three Prizren churches from various periods might have been, it was widely accepted in the Prizren area, becoming part of the local tradition.

СЛИКАРИ У ВИЗАНТИЈИ И ЗЕМЉАМА У ЊЕНОМ ОКРУЖЕЊУ – ЊИХОВ ДРУШТВЕНИ СТАТУС И УГЛЕД

Author(s): Miodrag Marković / Language(s): Serbian Issue: 60/2/2023

The paper examines the social position and reputation of artists, primarily painters, in Byzantium and the countries under its cultural influence, in the area of the socalled Byzantine Commonwealth. It concludes that painters were treated like all other craftsmen in many aspects of social life from the time of the Book of Eparch (from the tenth century). Nevertheless, some artists were highly respected, and this prestige manifested itself in different ways: prominent painters were praised for their artistic skill or their wisdom and education, some were engaged as witnesses or guarantors in court cases due to their civic and personal credibility, some enjoyed a reputation that stemmed from their other profession – many of them were members of the clergy (priests, hieromonks, monks, hegoumenoi, chartophylaxes, metropolitans), some were elected state, city or military officials, and judges, and some were sent on diplomatic missions. Accordingly, many painters were addressed by the title kyr (Sir), which also testifies to their reputation and social status. Others, however, were forced to earn a living by trading, sometimes even by farming or herding. On the other hand, sources testify that occasionally figures of the highest social ranks (emperors, archbishops, metropolitans, nobles) also dabbled in painting, but they usually did so for fun, and are thus rightly seen in scholarship as amateur painters and cannot be used to illuminate the social status of painters. It seems, however, that the artist’s reputation, about which this paper provides original testimonies and a range of other indicators, generally did not bring a better or higher social status to the painters themselves, so until the end of the Middle Ages, much as in the tenth century, as evidenced by the Book of Eparch, they retained the status of artisans. To corroborate that claim, the paper brings original data on the social strata from which apprentices in painting workshops were recruited and the social circles from which came the spouses of painters or their family members.

INTERIOR DESIGN IN THE RENOVATION, MODERNIZATION AND AESTHETIC EDITING OF THE MUSEUM OF HISTORY AND ETHNOGRAPHY IN UNGHENI

Author(s): Liliana Platon,Ilie Cebanița / Language(s): English Issue: 1/2023

The present paper deals with a scientific analysis of the interior design within the licensing process concerned with the renovation, modernization and aesthetic editing of the Museum of History and Ethnography in Ungheni, carried out in 2022. In the context, the historical course of formation and evolution of the museum is described, prominent personalities who contributed to the development of the museum, museum pieces and categories of exhibits in the museum's possession. All these have been used in value through the vision of interior design which is researched through the historical, ethnographic and artistic prism. Through the research, the role and responsibility of interior design in the process of consolidation and valorization of the national cultural heritage is highlighted. The given study presents the result of the interior design project, concerned with the correspondence or synchronization of the new modern implementations with the ethnographic data inherited from the historical period.

Pieter Bruegel the Elder’s The Tower of Babel (1563). From Art to Architecture

Author(s): Ruth Dorot,Edna Langenthal / Language(s): English Issue: 2/2023

Aim. This paper examines the meaning of The Tower of Babel (1563), Pieter Bruegel’s painting, as a physical, cultural, social, and architectural herald of the modern skyscraper. The interpretation generated will form the background for a contemporary analogy to the modern skyscrapers. These large-scale aesthetic structures, form the sensation of an unnerving lack of space and does not correspond with the existing urban outline. Similar to the tower at the painting, that is a symbol of the lack of connection between nations and peoples, the skyscraper follows in the footsteps of its predecessor that symbolized the confounding of the languages. Methods. Four theoretical approaches will be utilized: (a) Examining the place of the painting within common approaches to the biblical text, based on familiar examples; (b) Converting the biblical story into a painting; (c) Analyzing and evaluating the painting from an aesthetic perspective; (d) In order to overcome the alienation and lack of community we shall utilize the phenomenological notion of place and space, which opens a path to architectural experiencing that promises to connect the individual to the environment, the world, and the community. Results. Pieter Bruegel the Elder’s approach to the biblical story and its artistic portrayal teaches us that The Contemporary Torah (2006, Genesis 11:1-9) is a timeless and universal story that illustrates human pretense, a lack of adequate self-evaluation, arrogance, and stupidity. Conclusion. The artist understood all this very well and possessed the originality and the daring to represent it even in contradiction of contemporary conventions.

FAȚETE ALE UNOR NAUFRAGII: APĂ

Author(s): Lucian Vasile Bâgiu / Language(s): Romanian Issue: 14/2023

The essay is a comparative analysis of the function and meaning of water into three novels dealing with shipwrecks and outcasts: Golding’s Lord of the Flies (1954), Tournier’s Friday, or The Other Island (1967), Coetzee’s Foe (1986). In Lord of the Flies the water is not, seemingly, a significant actor of the narration, it has no notable role, it is not a structural element to entail the development of the internal history. Yet, a close reading reveals a meaning in an unobtrusive accordance with the main topic: the confrontation between civilization and savageness within the human nature with uncomfortable triumph of the latter. In Friday, or The Other Island there is an abundance of water on the island, which is a sign for its lubricity or/and its fecundity. The island with inner wet gallery is metamorphosed by Robinson in a living feminine companion. Robinson enforces upon the island not only the perpetual erotic availability, but the motherly vocation as well. The flow of water is factitiously driven, with effort, for the conception and maintenance of an anthropogenic reservoir; the description of the paddy can be read as that of a womb bearing a constrained pregnancy. In Foe from the very beginning the water is related to the apparent impossibility of an exact report of the reality through words. The subject is further expanded both through Friday’s muteness, which makes him an enigma, and through the configuration of a history by means of writing; a history that is phony in principle when tackled by the author Foe, a history that is ostensibly faithful to the reality and for which Susan is (unsuccessfully) striving, a history that is willfully neglected by Robinson, the thoroughly nameless history of Friday.

The Presence of Computers in Yugoslav Popular Music of the Second Half of the 1980s

Author(s): Milan Milojković / Language(s): Serbian Issue: 33/2022

This article is the result of my research of Yugoslav pop music discography in the second half of the 1980s, focused on the processes of implementation of digital musical instruments and general-purpose computers into music production – as original sound sources or replacements for acoustic instruments, as well as poetic metaphors and elements of graphic design of record covers. Based on the data available from recording staff listings, interviews with musicians/producers and the listening experience, the paper covers the most prominent examples of aforementioned practices.

Thе Mystery of Movement. Studies in Honor of János Fügedi / A Mozgás Misztériuma. Tanulmányok Fügedi János Tiszteletére

Author(s): Katarina Nikolić / Language(s): English Issue: 33/2022

Review of: Thе Mystery of Movement. Studies in Honor of János Fügedi / A Mozgás Misztériuma. Tanulmányok Fügedi János Tiszteletére. Editors: Dóra Pál-Kovács and Vivien Szőnyi Budapest: L’ Harmattan, 2020. ISBN 978-963-414-680-3.

Orthodoxy, Music, Politics and Art in Russia and Eastern Europe

Author(s): Bogdan Đaković / Language(s): Serbian Issue: 31/2021

Review of: Orthodoxy, Music, Politics and Art in Russia and Eastern Europe. Edited by Ivan Moody and Ivana Medić London: University of London, Goldsmiths, Centre for Russian Music; Belgrade: Institute of Musicology SASA, 2020. ISBN 978-86-80639-57-4 (IMSASA).

Milena Medić, Musica ante oculos: ekfraza i njene vrline ἐνάργεια i ἐκπλήξις u vokalnoj muzici na razmeđu 16. i 17. veka

Author(s): Tatjana Marković / Language(s): Serbian Issue: 31/2021

Review of: Milena Medić, Musica ante oculos: ekfraza i njene vrline ἐνάργεια i ἐκπλήξις u vokalnoj muzici na razmeđu 16. i 17. Veka. Beograd: Fakultet muzičke umetnosti Univerziteta umetnosti u Beogradu, 2020. ISBN 978-86-81340-28-8. 307 str.