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The paper does not have the ambition of a musicological study, but is only a small probe into the environment in which Jiří Sehnal was born, grew up, formed his personality and which served to determine his life path.
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Die Erkenntnisse, die uns diese Inventare bieten, sind für die Musikgeschichte Mährens äußerst wertvoll. Die Inventare belegen, dass Kompositionen im neuen Musikstil bereits kurz nach dem Jahr 1600 ihren Weg zu uns fanden, und zwar als aktuelles zeitgenössisches Repertoire. Dieses wurde in hohem Maße über Musikdrucke zu uns importiert und so konnten sich unsere Musiker mit dieser neuen Kunstrichtung auf den heimischen Bühnen vertraut machen und mussten dazu nicht ins Ausland reisen. Das in den erhaltenen Inventaren angeführte Repertoire bezieht sich zumeist auf die Kirchenmusik. Hier finden sich Messen, Litaneien, Vespern, Antiphonien, Offertorien, Motetten, Kirchenkonzerte, Kirchensonaten und andere mehr. Interessant sind zum Beispiel die Strophenlieder mit instrumentaler Begleitung mit der Bezeichnung Cantilenae, die volkstümliche Elemente im lateinischen figuralen Repertoire darstellten. Bei den Strážnicer Piaristen gab es sogar eines in tschechischer Sprache. Ferner sind da noch die Kompositionen des Typs Concertus de …, bei denen es sich ebenfalls Strophenlieder mit instrumentaler Begleitung handelt. Diese wurden nach frei gedichteten poetischen Texten komponiert und konnten in Gottesdiensten an Stelle der entsprechenden Teile des Propriums angesetzt oder bei nicht liturgischen Anlässen genutzt werden. Weltliche Musik ist in den Inventaren erst ab der zweiten Hälfte des 17. Jahrhunderts vertreten. In diesen finden wir unter den Bezeichnungen Ballett, Serenade und Arie Tanzmusik. Die erhaltenen Inventare aus dem 17. Jahrhundert belegen, dass in Mähren der Übergang von der Renaissance zum Barock bereits vor 1620 begann, und dass der neue Stil hauptsächlich über Drucke italienischer Komponisten zu uns durchdrang. Die einzelnen Zentren lebten nicht isoliert, sonder unterhielten zu einander sowohl offizielle als auch rein persönliche künstlerische und gesellschaftliche Kontakte. Daraus resultierte ein stetiger Austausch musikalischer Werte, wozu auch öffentliche Musikvorträge in den Kirchen beitrugen, wo neben den italienischen Komponisten auch Werke heimischer Autoren gespielt wurden.
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Unter diesem Thema veranstaltete der Lehrstuhl für Musikwissenschaft der Philosophischen Fakultät der Palacký-Universität vom 24.–25. 11. 2003 in dem neu errichteten Kunstzentrum der Universität eine diesbezügliche Konferenz. Das Thema der Konferenz hängt mit dem Vorhaben eines fachübergreifenden Projektes mit dem Titel: Geschichts und Kulturforschungen in Mähren als Modell für das Bestehen einer Euro-Region zusammen. Für die Zukunft wird die Gründung eines Forschungszentrums vorgesehen, in dem die Eigenarten des mährischen Gebietes aus der Sicht der Oszillation der lokal-territorialen sowie globalisierungsorientierten Beziehungen tiefer behandelt werden. Thematisiert werden auch Aspekte der Strukturierungsprozesse sowie die Koexistenz von verschiedenen Musikarten in dem breiteren kulturellen Kontext von Mitteleuropa. In diesem Rahmen konzentrierte sich der Lehrstuhl für Musikwissenschaft auf mehrere Bereiche, insbesondere auf die Problematik der Migration und Zirkulation des Musikrepertoires und der Musiker
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Das Thema Don Giovanni war in Böhmen schon in der erste Hälfte des 18. Jahrhunderts bekannt. Außer den ganzen Werke (über Don Giovanni) entstanden auch ihre verschiedene Bearbeitungen. Die für Harmoniemusik bearbeiteten, zu ihrer Zeit erfolgreichen Opern stellen ein charakteristisches Merkmal des Musiklebens an der Wende des 18. und 19. Jahrhunderts dar. In Böhmen hängt diese Erscheinung mit einer starken Mozarts-Tradition zusammen. Die am häufigsten bearbeitete Mozarts Oper ist gerade Don Giovanni. Diese Oper ist zur Vorlage zu Bearbeitungen von Jan Vent und Josef Triebensee geworden. Diese Bearbeitungen werden in der vorgelegten Arbeit analysiert. Obwohl keine von den Bearbeitungen die Logik der Opernhandlung berücksichtigt, wirkt ihre Struktur die nur den Musikregeln untergeordnet ist, geschlossen. Diese Bearbeitungen sind bis heute herausgegeben und in den Konzerten aufgeführt.
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Throughout the twentieth century there have been significant dramatic changes in opera: to its episodization (Stravinsky) or, on the other hand, to the movement of the center of gravity from mimesis to the revealing of the inner world of the characters. Under the influence of theatrical poetics there occurred the fracturing of plot, the simultaneous overlapping of various chronological levels. Starting in the 1970s, there was a modern and postmodern disillusionment with a "world without borders," whose vision in the crooked mirror of absurdity, of the grotesque, and political machinations and Dadaist-parody play. Artists in the East were likewise interested in the reinstatement of Communist regimes after the Soviet invasions and in parody of totalitarian government and leaders. Two expressionist operas that are similar (though different with regard to dramaturgy and history) testify to this fact: Hostina by Juraj Beneš (1980) and Černá maska by Krzysztof Penderecki (1986). Both operas have a historical basis and the action, past and present, rational and irrational, constantly overlap and are the key to understanding the present. In Beneš's opera, on a text by P.O. Hviezdoslav, biblical times of two Herods overlap - Herod in the opera is, however, the timeless character of a hysterical and paranoid dictator. Penderecki's opera maintains the unity of time and space - the spiral of events and scenes in Hostina take place as a permanent "alienation" in different time periods, spaces, in reality and dreams. Nevertheless, it does not produce confusion for the viewer. Hostina is not, however, like Černá maska, an uninterrupted danse macabre. In the spirit of the poetry of Hviezdoslav, the composer selects the struggle of evil on one side (Herod) - and on the other, in the characters of Rachel and Jochanan, the struggle of good, sacrifice, truth, and purity.
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Diese Studie löst die Frage, welche gegenseitige Beziehung zwischen einem bildenden und musikalischen Werk sein kann. Sie bemüht sich eine von den möglichen Antworten am Beispiel zwei Kompositionen von Luboš Fišer, Fünfzehn Blätter nach Dürers Apokalypse und Caprichos, zu finden. Diese oben bereits erwähnten Kompositionen wurden zu dem Ausgangspunkt unserer Analyse, die sich vor allem mit Tonmaterial, Arten von Zusammenklängen, dynamischem und motivischem Plan beschäftigt. Im Hintergrund dieser Analyse wird vor allem die Dramaturgie der bildenden Werke verfolgt, die Albrecht Dürer und Franzisco Goya in ihren Zyklen gewählt haben. Zu den berührenden Kommunikationsräumen der musikalischen und bildenden Kunstart wird in Fünfzehn Blättern nach Apokalypse Dürers der motivierte Plan gezählt, in Caprichos gehört hier neue Fišers Dramaturgie von ursprünglichen Goyas Kommentaren zu den einzelnen Blättern des Zyklus. Diese Kommentare wurden als ein gesungener Text verwendet.
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This text is about the Greek adventure experienced by Zbigniew Herbert, or, more precisely, his encounter with the Doric art of ancient Greece. The anthropological commentary encompasses solely the poet’s essays. The author chose as the point of departure U Dorów, an essay dealing with Doric temples in Paestum, and then compared it with two later sketches (Akropol, Duszyczka), whose topic is the art of temple architecture at the Athenian acropolis. Dariusz Czaja proposes a new deciphering of Herbert’s Greek essays. In doing so he draws attention that from the factographic point of view Herbert’s texts about Greek art no longer have much to add. On the other hand, they still remain intriguing material for reflections on the essence of art and its “long duration” in culture. Writing about his fascination with Doric temples in Paestum and on the Acropolis Herbert answers a fundamental and still engrossing question: is it possible to return to the past and – despite all – to hear the voice reaching us from old masterpieces?
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„Poetic language, unlike the language of sculpture, is not the language of concretes. Poetry is a special kind of antimatter. Is it possible, then, to translate something whose deepest meaning is inexpressibility into sculpture? Poetic language has at its disposal a number of tools such as negation, paradox, contradiction, contrast. How do we find the equivalent of these in sculpture?”
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In February 2019 Centrum Spotkania Kultur (Centre for the Meeting of Cultures) in Lublin opened "The Quay Brothers’ Dormitorium of Traces" exhibition composed of dioramas, films, installations, objects, and drawings by those outstanding authors of puppet and object animation. The exhibition accompanied a festival of set and costume design: "Stage under construction", with Leszek Mądzik as artistic director. The conversation conducted by Zbigniew Benedyktowicz with Małgorzata Sady, the exhibition curator, concerned archaeology and assorted references made by The Quay Brothers’ "Dormitorium of Traces".
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The article deals with an insufficiently recognised aspect of Eastern Borderland melancholy. Selected texts by three authors – Czesław Miłosz, Tadeusz Konwicki, Zbigniew Żakiewicz – demonstrate that Eastern Borderland melancholy possesses a bright side and is a phenomenon much more complex than merely a longing for the lost land of our childhood or a collective manner of experiencing trauma. The titular melancholy discloses also features of its modern counterpart, which appears as the subject’s reaction to a rapidly changing world. Eastern Borderlands belonged to a universe of the pre-modern world, while the melancholy “I” of Borderland literature interiorised its loss and thus ensured refuge for the most valuable objects of an obliterated world. It was in post-war Borderland literature that multilingualism came into being, the Other returned, and a non-normative Polish language reversing Polish identity made itself known.
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A personal essay inspired by Karol Szymanowski’s "Król Roger" and the author’s Greek-Sicilian religious fascinations.
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An attempt at taking a closer look at the works of Kader Attia – an Algerian-French visual artist dealing with colonialism, decolonization, and phenomena at the intersection of Western and non-Western cultures. The author describes concepts and strategies recurring in many of Attia’s works – including the central notion of repair – and goes on to examine his programme from a broader perspective, treating it as a proposal situated at the intersection of art and anthropological reflection.
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The paper delves into artistic representations of the complex relationship between humans and plants, drawing on recent research in the fields of the humanities and botanical sciences. It emphasizes that science and art, while different languages, complement each other and together provide a more comprehensive view of the world. The artworks by Igor Eškinja, Vitar Drinković, SofijaSilvia, and Ana Belošević are analyzed in terms of the narratives they present, the social critique they offer, and how they express societal and cultural momentum. The paper provides an insight into the interconnectedness of humans and the natural world in contemporary society, as described, interpreted, and facilitated through artistic imagination.
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Reflecting on the absence of cultural artifacts and family heirlooms, journalist Olesja Jaremčuk shares poignant stories of ethnic minorities across Ukraine. From the Armenians in Ivano-Frankivsk to the Swedes in Zmijivka, these communities exhibit remarkable resilience despite the devastation of war. The narrative captures the essence of memory and loss, as people cling to fragments of their heritage amidst chaos. The ongoing conflict has shattered the diverse mosaic of Ukraine, scattering its people and their stories. Yet, there remains a deep-seated belief in rebuilding and preserving these cultural memories. The determination to restore what has been lost and honor those who have perished underscores the enduring spirit of the Ukrainian people. The stories of survival, displacement, and the fight to maintain cultural identity are a testament to their strength and hope.
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This article examines two sets of films-those produced by amateur home movie-makers, Polish Jewish immigrants to the United States, on return visits home as well as the Six Cities series produced professionally by Sektor Films-in the context of the larger project of the creation of an image of Polish Jewish life in the interwar period. It uses the concepts of nostalgia delineated by Svetlana Boym to argue that even more than fundraising, the filmmakers intended their documentation to create a nostalgic souvenir for Americanized Jews and their children, a pre-facto memorialization of Polish Jewish life.
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In an insightful interview, actor Volodymyr Lyutikov shares his journey from the small town of Tokmak to the experimental stage of Kyiv’s “Dakh” theater. He reflects on his early influences, including his father’s optimism and his brother’s service in the Ukrainian military. Lyutikov’s passion for theater was ignited by a chance encounter with a local director, leading him to pursue acting seriously. He describes the transformative power of theater, likening it to a form of magic that reveals one’s true self. Lyutikov’s work is deeply influenced by his mentors and his desire to explore complex themes through monodramas and experimental performances. He envisions a future where Ukrainian theater thrives, even imagining performances on Mars. His dedication to his craft and his belief in the healing power of art underscore his commitment to cultural and personal exploration.
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The perception of films is constantly changing in relation to different social changes and cultures. At the same time, it is necessary to keep in mind that the reception of the film depends on previous knowledge, social experiences, imposed dominant narratives and rules both broadly in the social field and narrowly within the artistic field. Film is not only a communication-discursive product, but also an artistic and aesthetic phenomenon, polysemic, often contradictory. Because of all this, recent film studies avoid master narratives and fundamental questions in their analyses. Taking the above into account, in this paper we will approach Disney’s film production of the animated film “Mulan”, showing a complex network of relationships and interpretations, to show the interplay and conflict of different elements within one film production. The significance of the analysis of the animated film “Mulan” from 1998 is reflected in its potential to activate social discussions about neoliberal culture and film as a political tool, and hybridity and capitalist co-optation of ethnic material, but at the same time the new millennium and fluid treatment of identity, gender and sexuality. The correlation of one dimension with another is of interest to research.
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The 27th Munich Bohemist Meeting, held on March 10, 2023, marked a significant return to in-person gatherings after two years of pandemic-induced virtual sessions. Scholars from various countries, including Czechia, Slovakia, Austria, Italy, and the USA, convened to discuss current research projects on Czech and Slovak history and culture. The event featured diverse presentations, ranging from early modern patronage to trade and mass violence around 1900, emphasizing interdisciplinary approaches and epochal diversity. Highlights included discussions on collective music promotion in Vienna, the role of Prague's female artists in the First Czechoslovak Republic, and the regulation of the book trade between Vienna and Prague. The meeting underscored the importance of networks and institutions in shaping sociohistorical transformations, with a particular focus on Vienna and Prague. The final panel addressed social orders and public space in multiethnic Cisleithania and interwar Czechoslovakia, exploring themes of violence, nation, and status. The event concluded with informal exchanges, reflecting the ongoing interest in Bohemian studies.
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After 1950, in the writings on the history of Romanian music, there is a constant preoccupation in approaching the Byzantine musicology topics, being a domain able to adequately justify the presence of local “multisecular” musical practices. The Communist Party’s strategy of reaffirming national identity and cultural heritage on an international level will create unexpected opportunities for researchers of sacred music. Due to its ability to build solid historical bridges to the ancient past, Byzantine musicology, once largely overlooked and censored, would gain increasing importance. Since it could conveniently link modern Romanian culture to that existing on the territory of the former Dacia, this field began to be employed in official publications, having the usefulness of a vehicle that could successfully deliver the mainstream themes promoted by the regime, such as nationalism, bimillenarism and Romanian exceptionalism.
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This article provides a review on existing works about relationships between semiotics and surrealism. It also points to some deep links between the two, bringing together incompatibility and contradiction as fundamental features of semiosis and as the focus of surrealist art. The principle of non-contradiction is the basic premise of the scientific description of reality. The creation of meaning, however, is born from a contradiction (something is a sign to the extent that it is not that something). Meaningful reality as an object of semiotics is in this sense a sur-reality. The art movement most devoted to the treatment of contradiction as such is Surrealism. Thus, surrealism and semiotics share a common centre of interest. It turns out that the surrealist René Magritte’s painting has become one of the emblems of semiotics. It is also worth paying attention to the closeness of surrealism to ecological movements.
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