“In came the self-evident and luminous little mess”: Ethical Life Writing in Muriel Spark’s Loitering with Intenti

Author(s): Petronia Popa-Petrar / Language(s): English Issue: 37/2021

Starting from a brief examination of Muriel Spark’s position as a Scottish novelist within the framework of her anti-essentialist, anti-authoritative aesthetics, my essay will take a seemingly abrupt, but in fact consequential turn to investigate the complex antinomies involved in her fictional representation of the lives of others. Although at home and abroad she is hailed as Scotland’s most celebrated author of the twentieth century, Spark’s writerly practice consists of regularly dismantling grand narratives or fixed, stable identities, often clashing with more localized or prescriptive views on the social and national functions of narrative. My argument, however, is that it is the very unease of her “Scottishness” that acts as one of the foundations of her literary ethics, embodied in her acute awareness of the antinomies involved in textualizing the lives of others. Spark’s shrewdly metafictional Loitering with Intent (1981) openly thematizes both the obligation, and the risks of telling one’s own and other people’s stories, performing a radical ethics of narrative alterity through its staging of the enmeshments of writing, (auto)biography and experience.

„Nicht Jonny, Walzer spielt auf“ Komparativní úvaha nad žánrovými specifiky valčíku v opeře, beletrii a dramatice českého a rakouského fin de siècle

Author(s): Kristýna Celhofferová / Language(s): Czech Issue: 2/2012

The paper focuses on the distinctive features of “waltz” in opera, belles-lettres, and drama of Czech and Austrian fin de siecle. The starting point of the paper is a reflection of waltz reflection in Hofmannsthal’s and Strauss’ opera “Rosenkavalier” and its concept of a Spieloper as a critique of contemporary aesthetism and a reception of this “waltz opera” in the Czech cultural kontext: Zdeněk Nejedlý and Max Brod tried to rethink this opera with regard to the ambivalent innovation of music-expressing facilities and waltz-anachronism. The study in its next step monitors Max Brod’s critical attitudes in the context of his own work. Futhermore, the study compares the use of the waltz in the works of the Austrian context of Arthur Schnitzler, Stefan Zweig and Joseph Roth with works of Jiří Karásek of Lvovice, Julius Zeyer, Jaroslav Kvapil, Josef and Karel Čapeks of the Czech context. In its final part the paper deals with an evocation of jazz adaptations of waltz in late prosaic and essayistic works of Stefan Zweig; finally these works are compared to Ernst Křenek’s opera “Jonny spielt auf” which connects jazz with an escape from the conventional European culture.

„Sám o sobě existuje jen dobrý osud“ Teorie dramatu Antona Müllera v kontextu středoevropské estetiky

Author(s): Tomáš Hlobil / Language(s): Czech Issue: 2/2014

The essay aims at situating the theory of drama formulated in a lecture series given in 1831 by Anton Müller (1792–1843), Professor of Aesthetics at Prague University, within the context of Central-European aesthetics of the day. Therefore, two contemporaneous discussions are outlined to provide a background for the comparison. They are respresented by drama interpetations laid down in aesthetics lectures of Müller’s predecessors in Prague and influential Austrian reflections on drama dating from the first three decades of the nineteenth century. The comparison with the ideas and theories of August Gottlieb Meißner (1753–1807) and Johann Heinrich Dambeck (1774–1820) demonstrates that Müller’s theory of drama was no longer in accordance with Enlightenment drama principles, while the comparison with the then renowned reflections of Joseph Schreyvogel (1768–1832), Heinrich Joseph von Collin (1771–1811), August Wilhelm Schlegel (1767–1845), Karl Wilhelm Ferdinand Solger (1780–1819), Wilhelm von Schütz (1776–1847), Matthäus von Collin (1779–1824), and Michael Leopold Enk von der Burg (1788–1843) exemplifies similarities between Müller’s theory and Austrian, religiously based and spiritually oriented, aesthetics of the time.

ХУДОЖНІЙ ПРОСТІР ХОРЕОГРАФІЧНОЇ ВИСТАВИ ТА ЙОГО ГЕРМЕНЕВТИКА

Author(s): Olesya Vakulenko / Language(s): Ukrainian Issue: 1/2021

The purpose of the article is to identify the features of the artistic space of a choreographic performance based on the vocabulary of ballroom dance. Methodology. A systematic method was applied, which helped to consider the choreographic performance as an integral artistic system; a philosophical and aesthetic method - for considering and comprehending a choreographic performance in the context of a new stage concept of the 21st century; the typological method used to identify and analyze the components of the artistic space; the method of interpretive analysis of the ways of creating the artistic space of the choreographic performance and the hermeneutic-phenomenological method, which helped to study the possibilities of understanding the meanings of the text of the choreographic performance and methods of their formation. Scientific novelty. The significance of the auditory and visual non-plastic elements of a choreographic performance (scenography, musical arrangement, and dramatic basis) in the context of the development of a holistic image of stage work is considered. The preconditions for the harmonious combination of movement, sound, light, and color are analyzed, and their importance in the process of creating a single artistic image of a choreographic performance is revealed. It has been established that in accordance with the basic principles of interaction and mutual influence of these components, as well as the specifics of their relationship with choreographic vocabulary, a process of qualitative transformation of figurative characteristics occurs while maintaining their inherent aesthetic nature. Conclusions. Choreographic art specifically transforms the features of the artistic space – the artistically reflected and transformed space of reality, endowed with aesthetic meaning and content. Despite the originality of each specific choreographic performance, created on the basis of the vocabulary of ballroom dance, the specifics of the staging solution, etc., a stage choreographic work is an integral artistic phenomenon. The study revealed that the radical transformation of the story sources of stage ballroom dance does not imply violation of their figurative and poetic concept. But the use of specific techniques and methods by choreographers-producers contributes to the creation of a multi-layered artistic space of the performance, the organic interaction of many subtexts, the emergence of innovative semantic perspectives, the generation of semantic potential, and the production of new meanings.

Художньо-педагогічна парадигма мімезису у навчанні майбутніх фахівців з образотворчого мистецтва на пленері

Author(s): Mykola Pichkur,Galina Ivanivna Sotskaya / Language(s): Ukrainian Issue: 1/2019

Purpose of the article is to substantiate the artistic and pedagogical paradigm of mimesis in the training of future specialists in the visual arts in the open air. The methodology is based on the terminological principle, the application of general scientific methods (analysis, synthesis, synthesizing). The scientific novelty lies in the fact that for the first time: the content of the category «artistic-pedagogical paradigm» is defined, the methodology is revealed and its universalism is proved in the training of future specialists in fine arts in the open air on the basis of ancient principles of mimesis, and advantages and disadvantages of this process are just ified. Conclusions. The artistic and pedagogical paradigm of mimesis in the training of future specialists in the visual arts in the open air covers the appropriate objectives, selection and application of methods, techniques and means of depicting nature as an aesthetic semiotic successful implementation of color, tonal, plastic, rhythmic and compositional tasks of creating an objectively valuable artistic image of nature.

Художня критика та мистецтвознавство в сучасних умовах

Author(s): Alina Mykolayivna Pidlypska / Language(s): Ukrainian Issue: 1/2019

Purpose of Research is to identify the similarities and differences between artistic criticism and art history in contemporary conditions. Methodology. The methodology is based on a theoretical analysis of scientific literature, a comparison of art criticism and art history, and systematization, which led to scientifically objective results. Scientific novelt consists in identifying the similarities and differences between artistic criticism and art history in modern conditions. Conclusions. Artistic criticism contextual (is within the artistic process, although not integrated into it), academic art history is out of context. Artistic criticism is characterized by operativity, urgency, peculiar intermediary functions between the event and its historical assessment, emotionality, immersion – in contrast to the accuracy, the removal of art history. Regarding the audience: art history in the professional field, criticism – in sociocultural. The nature of art criticism is epistemological, criticism is axiological, but today there is a shift towards interpretive methods of artistic criticism. Among the methods of interpretation are philosophical, aesthetic, biographical, psychoanalytic, historical-artistic, semiotic, sociological, historicalcultural, comparative-typological criticism. Interpretative methods of artistic criticism are consistent with the processes of decoding the work of art, which is one of the functions of criticism, levels of this decoding can be incredibly large. "Stuccato Structure," hypertextuality, interactivity, laconicism - features of artistic and critical speeches in the Internet media. Elements of artistic criticism form the basis or can be an integral part of a wide range of journalistic (review, creative portrait, problem presentation, review, interview, essay) and scientific (monograph dissertation) genres. Today, the need to expand the professional "boundaries" of art history and artistic critique has matured.

Хуманисти, още едно усилие!

Цветан Тодоров и съвременният дебат за хуманизма

Author(s): Boyan Manchev / Language(s): Bulgarian Issue: 1/2020

Хуморът в хуманитаристиката

Author(s): Daniela Konstantinova / Language(s): Bulgarian Issue: 2/2014

ЦАРСКАЯ ВЛАСТЬ И ПЕРВЫЕ ПЬЕСЫ РУССКОГО ТЕАТРА КОНЦА XVII ВЕКА

Author(s): Marianna Kaplun / Language(s): Russian Issue: 13/2014

This article investigates the causes of the first Russian court theater in the 1670s at the court of Tsar Aleksey Mikhailovich Romanov The Quietest. The history of the first Russian theater is closely related to the formation of a new court culture in the late 17th century. The first plays of Russian theater "Ahasuerus action" and "Judith" was intended not only to a certain extent, "entertain" the Tsar Aleksey Mikhailovich, but also reflect the court ceremonial and the strengthening of royal authority in a transitional time in Russian history. Rich pictorial series of the plays was the basis of ceremonial esthetics and its embodiment in the stage form.

Цветан Тодоров и Клод Леви-Строс

Разминавания и приближавания около морала, универсалното и универсализма

Author(s): Ivailo Znepolski / Language(s): Bulgarian Issue: 1/2020

Цветан Тодоров и Станислав Лем: Едно продуктивно недоразумение

Author(s): Miglena Nikolchina / Language(s): Bulgarian Issue: 1/2020

Цветан Тодоров, роман

Литературата и литературните източници в почерка на изследователя

Author(s): Stefano Lazzarin / Language(s): Bulgarian Issue: 1/2020

Цивилизаторската мисия на изкуството

Author(s): Valentin Angelov / Language(s): Bulgarian Issue: 5/2021

There are many artists, as well as theoreticians too, who regard art not only as knowledge, but as possibility for change our material environment, but also our social relations. The last assertion is an utopia, but it has many followers.

Цирк як предмет гуманітарного наукового аналізу

Author(s): Elena Pozharskaya / Language(s): Ukrainian Issue: 8/2017

The paper pays attention to the activation of circus art studies, due to turbulent processes in culture and social life of contemporary society and the demand for the circus as a social institution and as spectacular forms of popular culture. Purpose of the article is to reveal the state of scientific development of the issue of a circus as a cultural phenomenon. Methodology. Research methodology is to use a multidisciplinary approach based on the principle of comparative studies, providing comparison and interpretation of philosophical and aesthetical, historical, cultural, anthropological, social and cultural aspects of the study of art and a circus as a synthetic form of art. Scientific Novelty. The author analyses the state of scientific development of issues of the circus as a cultural phenomenon and reviews the list of identified issues, researched by Ukrainian and foreign scientists in the twentieth century. Conclusions. The author notes the following statements: the need for further study of circus arts, including cultural analysis of issues such as cultural specificity of the circus, its relationship with the artistic context and determination by social, historical, aesthetic factors, new forms of creativity in the circus, the specific features of its functioning in mass culture and the consideration of circus art as a factor of cultural diplomacy.

ЧАРЛИ ЧАПЛИН У ДЕЛУ БОШКА ТОКИНА

Author(s): Ivana Miljak / Language(s): Serbian Issue: 2/2013

Boško Tokin wrote about the work of Charlie Chaplin primarily from the aspect of visual characteristics, mime and gestures and his conclusions regarding those elements of Chaplin’s art differed from the opinions of French film aestheticians. Tokin observed the genre particularities of featured dramas in the same way as other authors that wrote about Chaplin: Alexander LEJTES and Eldar Ryazanov.

Частичност, цялост и изкуство

Author(s): Nikifor Avramov / Language(s): Bulgarian Issue: 4/2020

The text examines the categories of partiality and wholeness in light of art and its adequate understanding. The categories are understood not simply as describing certain objective state, but also as orientations in worldview and interpretation which assume their own objectivity. The essence which defines the orientation and its objectivity we identify through the referring to the metaphysical consciousness term “spirit”. We relate the categories to accompanying concepts, among which the concepts of chaos and order.

ЧЕЛОВЕК И СУДЬБА В ДРАМАТУРГИИ Ю. О’НИЛА

Author(s): Sergei Mikhailovich Pinaev / Language(s): Russian Issue: 2/2014

The article considers the idea of the conflict between man and fate, and describes the nature of the tragic as the most important aesthetic category in O’Neill’s main dramas. The work is focused on the problem of fate and the evolution of this concept. In O’Neill’s early plays, it transforms from inscrutable behind-life forces to an internal entity associated with subconsciousness, family connections and genes. In his late plays, fate is represented by society hostile to man. However, O’Neill believes that fate can never defeat human spirit.

Черното в живописта на авангарда

Author(s): Valentina Ganeva / Language(s): Bulgarian Issue: 3/2003

Читатель в сознании автора: проблема монологического и полифонического сознания

Author(s): Aleksandr Feduta / Language(s): Russian Issue: 2/2005

The article deals with the typological "author and reader" relations during their period of development from classicism to romanticism, describing the author's intentions in relation to the reader in relation to various readers' perceptions. The author consciousness is explored as "monologue" and "polyphonic". It is established that in the first case the author refuses principally the dialogue with the reader, demanding that the author fully trust and refuse to consider his authority. In the second case, the author acknowledges the equality of both his and the reader's ethical and aesthetic experience and, therefore, engages in dialogue with him at the same level as hears the "voices of the various readership groups" and responds to them in his own text.

Човекът - изваден наново

Author(s): Enyo Stoyanov / Language(s): Bulgarian Issue: 12/2022

The text offers a review of Prof. Miglena Nikolchina's monumental study "God with Machine: Subtracting the Human", dedicated to fundamental theoretical conceptualizations around anthropological issues. The review dwells in particular on the central conceptual paradox outlined in Prof. Nikolchina's book, namely the double determination of man as "a being who wants to be human" and “being who does not want to be human”