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Ungarn - Punkrock und die Ekstase von Schamanen

Author(s): Moran Ulfilas / Language(s): German Issue: 24/1986

Sie verkörpern in der New-Wave-Szene Ungarns einen überraschenden kulturellen und kultischen Zusammenhang, den viele Rockmusikfans auch nach mehrmaligem Hören der nur auf Kassetten und Video-Clips vertriebenen Produkte schwer erfassen können. Eine fast magische Anziehungskraft verspüren sie, die durch das sinnliche Erlebnis der harten Punkrhythmen und die kreischende Kopfstimme des Sängers und Bandleaders Attila Grandpierre ausgelöst wird. Und sobald die auditive Wahrnehmung der Musik von instrumentalen und vokalen Eruptionen gebannt ist, übertragen sich auch die rhythmischen Bewegungen der Musiker auf das Publikum. „Lust am beschwörenden Geschwindigkeitsrausch“, nannte ein Musikkritiker (Weser-Kurier, 21. Dezember 1985) dieses Beschwörungsritual, in das das Publikum hineingezogen werde. Für ungarische Kulturfunktionäre sei eine solche animierende Wirkung ein ausreichender Grund, um die „Rasenden Leichenbeschauer“ nur relativ selten auf die Bühne zu lassen.

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Dekolonizacja i wyzwolenie w sztuce ukraińskiej

Author(s): SWITŁANA BIEDARIEWA / Language(s): Polish Issue: 4/2023

In this text focused on how postcolonial and decolonial processes are reflected in contemporary Ukrainian culture, art historian Svitlana Biedarieva examines methods of decolonizing Ukrainian cultural discourse through the lens of works by contemporary Ukrainian artists – specifically those addressing complex aspects of identity conflicts actualized by Russia’s ongoing war of aggression against Ukraine. Each of the artworks analyzed here dismantles the notion of Ukraine’s postcolonial entanglements through discussions of memory, language, and trauma. Further, Biedarieva attempts to establish a new theoretical framework in which to understand Ukraine’s particular position on the world’s geopolitical map, taking into account the fading impact of Russian colonialism on Ukrainian territory.

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Music Metaphors in the Issues of the Almanac Latvian Music Published in the 1970s

Author(s): Dāvis Eņģelis / Language(s): English Issue: 52/2023

The most significant periodical of musicological thought in Soviet Latvia was the yearbook Latviešu Mūzika (Latvian Music), of which 19 issues were published from 1958 to 1990. The yearbook consisted mainly of analytical essays, biographical studies, summaries of musical life, and chronicles. Meanwhile, a part of the Latvian musical thought was continued in another yearbook, published by the diaspora Latvians. Although many papers published in Latvian Music have become obsolete in terms of scholarly relevance, they still give a notion of how the musicological thought was contextualizing the musical experience through the years of the Soviet occupation. In this paper, I focus on the contextualization and representation of musical experience from the viewpoint of metaphor discourse, drawing from the Conceptual Metaphor Theory (CMT) and cognitive semantics in a wider sense. Using content analysis, I have systematized a music metaphor corpus from the issues of the Soviet yearbook printed in the 1970s (6 issues, around 290,000 words). The first partial results show a quantitative prevalence of space metaphors in the source domains of music contextualization. These metaphors served for the Soviet era musicologists as a tool for evaluating new musical pieces and the presence or absence of philosophical, psychological, or emotional depth in them. Thus, they fulfilled one of the most important functions of a Soviet musicologist: explaining the musical meaning to the listeners. The meaning which – in the yearbook by the Soviet Latvian musicologists – is unraveled or revealed by the composer or music itself.

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Visuaalkunsti ikoonilistest väljendusvahenditest Vassili Kandinsky kompositsiooniteooriast lähtudes

Author(s): Krista Simson / Language(s): Estonian Issue: 20/2023

The author of this article aims to show that the principles of composition and semiotic analysis of a work of visual art are compatible if the structure of the work’s elements and the relationships between them, i.e., composition, are taken as a basis. The article provides an overview of the means of creating meaning in composition, notably based on Wassily Kandinsky’s composition theory. The principles that Kandinsky points to in his theory are used to create the meaning of a work of visual art to this day: iconic means of expression constructed from stimuli affecting perceptions are the primary material of visual rhetoric. Therefore, the process of creating meaning cannot be ignored in the semiotic analysis of art, whereby composing iconic means of expression – form, color, diagrammatic, and topographical relations – creates connections that are both formal and semantic, whether it is a traditional pictorial composition, or frames of a video, an animation or a film.

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Ajast lugu luues

Author(s): Jaanika Palm / Language(s): Estonian Issue: 20/2023

Viimasel ajal on nii voogedastuse platvormidele kui televisiooni jõudnud mitmeid ajaloolisi sarju, mis on osutunud äärmiselt menukaks. Nii võiks perioodi alates 2010. aastate teisest poolest kuni tänaseni ehk isegi uute ajalootõlgenduste buumina käsitleda. Siin saab tõmmata paralleele ka 19. sajandil, romantismiperioodil õitsenud, aga õigupoolest alati olulist rolli mänginud ajaloolise romaaniga. Nüüdisajal, mil kirjanduse asemel on juhtivaks meediumiks pigem film ja üha jõulisemalt on esil just igasugu seriaalid, väljendatakse ajalooliste sündmuste representatsioone aga pigem filmikeeles kui raamatuna. Kuna ajaloolised sarjad flirdivad ajalooga erinevatel viisidel, kutsus see mind küsima ajaloolise tõe ja looja vabaduse vahekorra järele ajaloolises seriaalis. Laiemal skaalal on see aga küsimus ajaloolisest representatsioonist ja selle tõelisuse (vastavusest tõele) võimalikkusest üldse.

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Vabadusest ja sallivusest

Author(s): Agnes Põder / Language(s): Estonian Issue: 20/2023

Alguses plaanisin esseele veidi teistsugust lähenemist, kuid kui jõudsin Juri Lotmani artiklikogumiku “Mida inimesed õpivad” viimase kahe artikli lugemiseni, tundsin, et tahan käsitleda miskit nendega seoses. Lotman sai nende kahe kirjutise toel minu silmis inimese mõõtme. Kuigi ka varemalt mõistsin tema olulisust ja hindasin väga tema mõtteid, siis artiklid “Me elame, sest oleme erinevad” ja “Me jääme ellu, kui oleme targad” avasid kogu ta tarkuse kõrval, mis olid maalinud temast kuskil kaugel asuva abstraktse intelligendi pildi, inimese, kes on tundnud minuga sarnaseid emotsioone; ja neist artiklitest kumas läbi murelikkust, samas ka lootust.

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Jelka Vukobratović: U (g)radu i zabavi – etnografija križevačkih glazbenika

Author(s): Petra Kelemen / Language(s): Croatian Issue: 35/2023

Review of: Jelka Vukobratović, U (g)radu i zabavi – etnografija križevačkih glazbenika, Zagreb i Križevci, Hrvatsko etnološko društvo i Udruga P.O.I.N.T., 2022., 134 str.

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Božidar Violić – kazališni erudit među postgavelijancima

Author(s): Ana Lederer / Language(s): Croatian Issue: 135-136/2024

Sljedbenici umjetničkog, pedagoškog i teorijskog naslijeđa Branka Gavelle, nakon njegove smrti 1962. afirmiraju se kao redateljska generacija postgavelijanaca (Vladimir Habunek, Mladen Škiljan, Kosta Spaić, Dino Radojević, Georgij Paro i Božidar Violić, a četvorica među njima ističu kratkotrajno deklarativno zajedništvo poznato pod pojmom redateljskog kartela (Spaić, Radojević, Paro i Violić). Među njima se pak izdvajaju Paro i Violić, govoreći i pišući potonjih desetljeća u različitim prigodama i kontekstima o Gavellinoj redateljskoj i pedagoškoj metodi rada te utjecajima na vlastiti redateljski pristup, naposljetku ih zaokruživši u nizu svojih nezaobilaznih teatroloških knjiga o kazalištu. U radu se pokazuje kako su one ključne za rekonstrukciju njihovih redateljskih poetika utemeljenih u Gavellinoj Akademiji dramske umjetnosti, ali Violićeve knjige Lica i sjene i Isprika izdvojeno se analiziraju između ostaloga i s obzirom na njegovu iscrpnu analizu Gavellina redateljskog načina rada u praksi.

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KLASİK FARS ŞİİRİNDE SANAT ÜSLUPLARININ OLUŞUMUNDA AZERBAYCAN ŞAİRLERİNİN ROLÜ

Author(s): İlhame GULTEKİN / Language(s): Azerbaijani Issue: 62/2024

Traditionally, researchers draw attention to the presence of three styles in classical Persian poetry: Khorasan, Azerbaijan-Iraqi and Indian. Although the formal characteristics of the first poetry style that appeared in Turkestan and Khorasan were taken from Arabic poetry, local folklore traditions were common, and Arabic words and expressions were rarely used. In addition to the considerable increase in the amount and role of the Arabic dictionary, which is an artistic expression tool in the Azerbaijani style, which appeared in the 12th century, Turkish words and proverbs also began to be used. Great poets like Sadi, Mevlana and Hafiz played an important role in its development and enrichment. In the secular content poems written by the poets who immigrated to India in the 16th century, the previous normative rules were often violated, creating a new form, image, meaning and content became the main goal of the poets. Newly expressed abstract meanings and hard-to-understand ideas have complicated the language of the poem. Some of the researchers considered Saib Tabrizi as the greatest representative of Indian style, while some presented him as the creator of this style. The purpose of this article is to determine the role of Azerbaijani poets in the formation and development of all three styles.

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Rahvuslikud koolkonnad või stereotüübid? Balti kunsti retseptsioonist Vilniuse maalitriennaalidel 1969–1987

Author(s): Kädi Talvoja / Language(s): Estonian Issue: 01+02/2024

The article explores the representation of Estonian, Latvian and Lithuanian national art schools in the reviews of the Vilnius Painting Triennials of the Soviet era. The seven triennials observed (1969–1987) cover almost two decades of Baltic art, allowing us to follow the potential changes or continuities in the perception of art schools: the vocabulary of critics, methods of interpretation and value orientations. The dossier of analysed reviews consists of newspaper and journal articles published in Estonian, Latvian and Lithuanian media.

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Ja prototüübist sai stereotüüp... Eesti algupärane kunstnikuromaan, vagajutu ja naistepõlguse intertekst

Author(s): Johannes Saar / Language(s): Estonian Issue: 01+02/2024

The article examines the vernacular Estonian artist novel and the ways art historical narratives are adapted to it. With the integration of literary fiction with an art historical foundation, a recurring discursive pattern is observed in novels: echoing Christian martyrdom, Estonian artist novels feature the archetype of the evangelical passion story. However, as the protagonists in these cases are rendered as ‘tortured geniuses’, exclusively male and almost exclusively embodying the heroic-masculine outsider stereotype, a critical eye has also been cast upon the novels from a feminist perspective: questioning the malecentric and misogynistic sub-discourse of artistic history in literary fiction.

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Tarbekunstnik, naine, baltisakslane - Atelier für Kunstgewerbe tegevus 20. sajandi alguse Balti provintside kontekstis

Author(s): Ragne Soosalu / Language(s): Estonian Issue: 01+02/2024

The purpose of this article is to contextualise the activities of the first studio founded and run collectively by women. It analyses how these women constructed their professional identities while operating in a male-dominated field, and shows their role as the first modernisers of applied art in the local Estonian art scene in the early 20th century. The article contributes to the nascent study of the first Baltic women designers.

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Sotsiaalsed bandiidid linnaruumis - Tänavakunst ja aastatuhandevahetuse kommunikatiivne pööre protestikultuuris

Author(s): Margus Tamm / Language(s): Estonian Issue: 01+02/2024

The article discusses the politics of contemporary street art. The analysis builds on the characteristic contradiction in the core of street art: it is both illegal and popular. It can be considered both vandalism and institutionally celebrated art. In the popular media, the legitimacy of street art is often reduced to the question: ‘Is it art?’ I argue that such a question is of secondary importance and limits the discussion. To delve deeper into the public stance of street art, I offer the theoretical framework of deliberative democracy, supplemented by the legal philosopher Daniel Markovits’s notion of democratic disobedience and the social historian Eric Hobsbawm’s concept of social banditry. For more precise analysis, I distinguish between street art and graffiti. By graffiti I refer to the subculturally coded visual practice that emerged from the 1970s hip-hop scene; by street art, I am referring to unsanctioned public art that emerged a couple of decades later and is characterised by wider popular appeal, accessible visual language and inclusive humour.

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Академичният оперен театър на АМТИИ „Проф. Асен Диамандиев“ – Пловдив.

Author(s): Aliya Hanse / Language(s): Bulgarian Issue: 15/2024

Academic Opera Theater of AMDFA "Prof. Asen Diamandiev" – Plovdiv is one of the representative units of the Academy. Since its inception, AOT has produced dozens of opera and operetta titles and numerous performances. The active creative activity deserves the appropriate research attention to emphasize the role of AOT in the education and stage realization of the students. The object of research presupposes the timely overview and presentation of the results based on the empirical method, giving opportunities to consider the issue from different aspects.

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Šv. Barboros kulto paplitimas ir ikonografija XVII–XVIII a. Lietuvos sakralinėje dailėje

Author(s): Daiva Vaisnoriene / Language(s): Lithuanian Issue: 1/2024

The article addresses the spread of the cult of St Barbara in the Grand Duchy of Lithuania during the period following the Council of Trent and the diversity of her iconography in sacred art. The image of this saint, which became extremely popular in the seventeenth and eighteenth centuries, became frequently encountered after the spread of St Barbara’s fraternities; however, so far it has not been analysed in detail from the artistic aspect. The aim of the study is to delve into the spread, change, and iconographic methods of the extensive cult of this saint during the period following the Council of Trent in the Grand Duchy of Lithuania. To achieve this goal, the following tasks were set: to find out how the cult emerged and spread and to explore its nature in the seventeenth and eighteenth centuries in the Grand Duchy of Lithuania; to review some of the surviving images of the saint in the altars of Lithuanian Catholic churches and in Lithuanian museums, classifying them according to typical and specific iconographic ways of representation. Theoretical-descriptive, empirical, and iconographic-iconological research methods were applied, which allowed to fully investigate, evaluate, and reveal the meaning and importance of the content of sacred art in the Christian community at that time.

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Affected Stories, Sensed Memories, and Documented Voids

Author(s): Carlos Eduardo Lesmes López / Language(s): English Issue: 11/2023

In this article I will refer to a one-time performance piece called ‘Remember by Erasure’ (Lesmes 2020), which explores the relationship between photographs, memories, and the act of narrating the stories behind those memories and photographs. I put this in dialogue with Sarah Polley’s documentary ‘Stories We Tell’ (2012), which follows the filmmaker as she tries to piece together who her late mother was, through the stories and testimonies of her family members. The performance centered on how the act of telling a story, describing a memory, brings it back to life, while the film follows a cacophony of voices to reconstruct the character of Polley’s mother mixed with different techniques (interviews, archive material, staging) to illustrate memory and how this affects the way in which audiences connect to the film. I understand memory as an embodied experience in a relational and affective contact with the world, one that is constantly being reinterpreted and transformed. Relying on the notion of heterochronicity (Karlholm 2017, Moxey 2018) and the Bergsonian understanding of time, I explore how, in both the film and the performance, memories – or the lack of them – time, and narrative interact with each other. I propose the concept of a negative specter of memory, which refers to the things we can only recognize by their absence, the knowledge of the missing part, only possible because it is gone. A void. My goal is to explore how these ideas can have an impact on the possibilities that film and arts offer as ways to explore the relationship between memories, narratives, time, and their voids.

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Embodied Cinematography in Mr. Robot

Author(s): Maria J. Ortiz / Language(s): English Issue: 11/2023

Mr. Robot is an American television series that conveys the alienating effects of technology through unusual composition patterns. These patterns do not constitute mere coatings but manifestations of embodied metaphors that serve as emotion markers, redundant elements to maintain the mood. The viewers are led to share the character’s emotions, due to perceptual and sensory-motor experiences that are activated through the metaphoric mise-en-scène. The unorthodox framing also appears to affect the attentional synchrony, helping to immerse viewers in the obscure fictional world. All in all, the cinematography seems to facilitate the connection between the minds of fictional characters and viewers through bodily experiences.

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Shaping Films from the Inside Out: Embodied Mental Schemas in Filmmaking and Viewing

Author(s): Maarten Coëgnarts / Language(s): English Issue: 11/2023

This article aims to highlight the role of embodied mental representations or embodied schemas in both perception and filmmaking/viewing by foregrounding three premises: (1) perception is inferential and relies on prior embodied schemas; (2) filmmakers (authors) do not merely reproduce reality but equally impose body-based schemas onto the parts of a film in order to convey meanings; and (3) these schemas, as presented by the formal design of the work, may enrich the viewers’ experience by allowing them a privileged look into the embodied creative-thinking processes of filmmakers. It will be argued that viewers are prompted to peek into these processes because the representational embodied concepts, as cued by the films, are grounded in shared sensory-motor capacities that scaffold all abstract thinking and reasoning.

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Point-of-view Shots in Light of Cognitive Grammar

Author(s): Mircea Valeriu Deaca / Language(s): English Issue: 11/2023

This paper explores cinematic editing within Ronald Langacker’s cognitive grammar (CG) framework, analyzing the structural and conceptual aspects of film language. By examining the juxtaposition of shots, from a linguistic perspective, the study identifies recurring schematic patterns across expressive instances. Emphasizing grammatical constructions, it delves into the connections between shots, especially in sequences involving a character’s point of view (POV). The present investigation argues for the existence of a shared conceptual mechanism used in order to make sense of verbal and visual discourse. The study employs sequences from Buster Keaton and Michael Haneke, with a primary focus on hypothetical shot juxtapositions crafted to provide visual examples. To concretize the application of Langacker’s CG to cinema image analysis, a case study on the Kuleshov effect as experimented with by Hitchcock will be presented. The principal objective of this study is to construct a theoretical framework employing the analytical tools of CG to augment and refine Noël Carroll’s concept of erotetic narration. A subsequent claim is that the juxtapositions of shots are conceptual systems bound at several levels by circular loops. Several configurations of the system coexist and the viewer has the necessary executive control for implementing alternative meaning construals.

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Tension in Modernist Art and Lyric Poetry at the Beginning of the 20th Century in Estonian Culture: Ernst Enno and Others

Author(s): Anneli Mihkelev / Language(s): English Issue: 2/2023

The Young Estonia group (1905–1919) was at the centre of Estonian literature at the beginning of the 20th century, when Estonian poetry was both experimental and imitative. Gustav Suits was officially the creator of modern Estonian poetry. At the same time there were poets who wrote original poems that did not imitate previous work. Juhan Liiv was one of these, and Villem Grünthal Ridala and Ernst Enno continue in the same vein. Enno’s nature poetry is pantheistic and symbolic, emotional and sensitive to nature, at times suggesting transcendental cognition. He was interested in Oriental religion, which influenced his poetry to become less rational and more mystical. Ridala and Enno also used visual effects, and their texts have been set to music as well as becoming part of the visual arts in films and serials. The paper analyses the verbal texts of Enno and Ridala, and the interaction between visual and verbal texts.

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