We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
The main focus in this study is the unique individual reception of the Expressionism in some of Eugene O'Neill’s plays from the 1920s: "The Emperor Jones" (1920) and "The Hairy Ape" (1922). A strong source of influence is August Strindberg and his experiments at the Chamber Theater in Stockholm. This can be traced by pointing out common thematic and stylistic features in Strindberg's trilogy "The Road to Damascus" and O'Neill's "The Emperor Jones". Another major source of influence is the German Expressionist movement from the first quarter of the 20th century, especially some of the leading playwrights like Georg Kaiser and Ernst Toller. Yet another source of influence are the German Expressionistic films of R. Wiene, F. Lang and Murnau, which followed most of the principles of the avant-garde trend.
More...
The task of this text by the is to outline the main political and ethical ideas that Georgi Markov (Bulgarian writer and dissident, murdered in exile by the Secret Services) maintains in his constant and often radical criticism towards Bulgaria regime during the years. Italian professor Giuseppe Dell’ Agata’s main point is related to Markov’s unshattered conviction that the Bulgarian regime created by the Communist Party had nothing to do with the communism or the socialism but was simply an example of state capitalism.
More...
The art historian prof. Irina Genova traces the history of AICA (Association internationale des critiques d’art) and focuses on its congress in Poland (Warsaw and Krakow) in 1960. The carefully chosen topic of the congress, “International Character of Contemporary Art”, meant to provide a meeting point for Western European and Eastern European artists and to open the post-Stalinist Eastern art scene to the contemporary tendencies of the abstract painting. The situation was different in the different countries. The research draws a parallel between the quite open Polish scene and the more conservative and closed Bulgarian one and the reception the congress had in those two contexts.
More...
Review of: Ulrike Schröder - Jiří Vysloužil: Musikgeschichte Mährens und Mährisch-Schlesiens vom Ende des 18. Jahrhunderts bis 1945. Übers. von Věra Vysloužilová. (Wiener Schriften zur Stilkunde und Aufführungspraxis, Sonderbd. 7.) Böhlau. Wien u. a. 2014. 292 S., Ill., Kt. ISBN 978-3-205-79528-5. (€ 49,–.)
More...
Verbal language is one of many theatrical languages, and it accounts for the spectators’ unhindered reception when one of the roles is performed in a foreign language. Andrea Fian and Maria Strozzi were two Croatian actors who acted upon on the stage of Slavyanska Beseda Theatre (1904, 1905). Sofia Zvonareva was another guest actress from Croatia, and she was invited to stay for a couple of seasons as part of a Bulgarian troupe. Joseph Shmaha, a Czech actor and producer who was offered a position as artistic director at the Bulgarian National Theatre, also had two acting appearances on the Bulgarian stage. All guest actors, with the exception of Zvonareva, performed their roles in their native language even though the plays were staged in bulgarian. This text shows the theatre critics’ attitude to the bilingual performances on the Bulgarian stage during the first decade of the 20th century, when Bulgarian professional theatre was making its first steps to develop purposefully as a national cultural institution.
More...
Review of: Iris Engemann: Die Slowakisierung Bratislavas. Universität, Theater und Kultusgemeinden 1918-1948. (Studien zur Sozial- und Wirtschaftsgeschichte Europas, Bd. 22.) Harrassowitz. Wiesbaden 2012. 287 S., graph. Darst., Kt. ISBN 978-3-447-06640-2. (€ 52,–.). Reviewed by Katharina Wessely.
More...
This article aims to present the work of some of the most successful contemporary fashion illustrators. An attempt has been made to analyze graphic techniques and digital means of expression in the design of a fashion sketch. Current works of world-famous authors are presented, which define the new trends in fashion illustration.
More...
Speaking about the phenomenon of abstract art, we often credit the merits of the first "founder" or "pioneer" in this genre to Vasily Kandinsky. Being one of the earliest artists who used the term "abstract" in the period of development of fine arts, Kandinsky is an artist - theoretician who recreated the Renaissance idea of feeling, the vital, the terrestrial and self-knowledge in his works - distinctive and innovative for the period. Noting the foundations of perception of the abstract and spatial structures, Kandinsky wrote the book "On the Spiritual in Art. Point and line to plane" It will not be a mistake to say that he was the first "pure" artist, who had entirely focused his work on cleansing and simplifying images to the plane, depriving himself of the image due to his belief that excessive specificity prevented his paintings and self-expression. In his theories, Kandinsky offered to the general public a summary of the way in which the work of art is created and put it in the frame of visual composition consisting of two basic elements - the inner - emotional and the outer - accessible element.
More...
In the time we live in, music is a cult. The musical style brings with it not only the worldview, but also the whole lifestyle of its listeners. Very often walking on the streets we can see girls with Rihanna's hair or boys dressed as Justin Bieber. But this is by no means a novelty or a fashion - the music that is listened to reflects on the appearance. The Beatles and the Rolling Stones, considered to be one of the symbols of the 60's and recognized as the most innovative and popular performers in the history of pop music, are considered to be one of the first major music waves to flood in and create their own style. As a period, the time in which the two bands quickly gained popularity coincided with the mass distribution of television. The performers quickly imposed their own lifestyle, behavior and dress, supporting the idea of avant-garde music of their time
More...
Regarding the scientific aspect of the anatomical drawing, when it does not correspond to the actual authenticity (anatomical truth), the author considers that such an illustration in itself has no didactic value. In this case, the creative (artistic) aspect is not essential. Even if the drawing has high artistic qualities, they are not able to compensate for the lack of scientific fact. To the extent that a wrong word in the text may confuse readers with insufficient experience and knowledge in plastic or medical anatomy, undoubtedly the same (even to a greater degree) applies to the wrong anatomical drawing.
More...
The article shows examples of paintings by Botticelli, Frans Hals and Delacroix, representatives of different eras and styles in the fine arts, in which the authors have made similar inconsistencies. Regardless of the reasons that led to these discrepancies in the spatial positioning of the longitudinal axes of the eyes, this in no way affects the aesthetic appearance, nor does it take away from the beauty of the works of the three world-famous artists.We cannot be sure of the reasons why the artist makes mistakes of this nature - and not once, but we must admit that in other cases he follows the rules of anatomically correct construction of the head.However, it turns out from art history that there are other examples of world-famous artists who make positional-spatial errors of the same nature in their works.
More...
Well is one of the important sources to reach water in rural areas where technological opportunuties are limited in. It’s seen that, this source has a place in Turkish culture, in the world of literature and thought in both real and figurative meanings. The reality is well theme has been using as a powerful symbol in daily life idioms and proverbs, mânis and folk songs, tales, mythes, legends, classical poems, modern literature apart from it’s worldly meaning. Therefore, the reflection of well theme to Tukish movie theatre has a parallel direction with its’ common using in both Turkish culture and literature. It is seen that; material, legendary and psychological aspects of well are emphasized in dramas and horror movies. In this article, the transfer of well theme from folk culture and Turkish literature to movie theatre is examined with a functionalist point. It is tried to be analysed over the well theme that; although there is a thought of a materialistic factor has lost its’ function apparently, with the changing of context, it has gained new functions. With this research besides its’ water resource, these functions of well are determined; it is a socialising means, a source for taboo, useful as a witness for people who fix their faults, a milestone in the life of people who are seen as holy figures, a symbol to describe impossibilities and desperations. Also, it is a way to descibe beauty of lover in classical literature, has various functions as a metaphor to impress the “death, sexuality, past, unknown” and complicated feelings in both modern literature and movie theatre.
More...
The article is a study of Pacamambo (2000), a play by Canadian writer Wajdi Mouawad, which combines the features of an initiation drama with horror elements and shows the nightmare of growing up through unexpected encounters with death. The author shows an analogy between the structure of the rite of passage, proposed by Arnold van Gennep and deepened by Victor Turner, and the aspects related to experiencing oneself in a limit situation in terms of Karl Jaspers and to the poetics of horror. On this basis, she proposes to isolate the tragic model of adolescence (next to the classic – idyllic and romantic – suffering) in which the role of traditional rites is replaced by a limit experience. She indicates that this is a model that we can often come across in contemporary young adult dramas and even in plays for children. She also distinguishes the concept of initiation drama, which still remains outside the area of interest of literary scholars.
More...
Together with the rites of the spring cycle, such as Summer Day, St. George, Novruz, Rusticat, etc., it was practiced the rite of Llazore. This rite with pagan characteristics, often encountered in rural areas, is no longer practiced. This has happened due to a number of reasons that have affected the intangible cultural heritage. Despite this, we have managed to preserve and inherit through the archives many songs, sung dances and folkloric motives of this rite through in a digital form, at the archive of the National Center of Folkloristic Activities and the Institute of Cultural Anthropology and Art Research (Academy of Albanological Studies). This paper will preview the data that we find in the digital archives, where the rite of Llazore is included, treating this rite in the context of artistic performance. At the same time, we will try to reconstruct the rite, addressing the stages and form of organization of the rite. We will try to achieve this by comparing the archival material with the empirical data we have to collected during our expeditions focused on the rite of Llazore.
More...
Grčki filozof Aristotel definirajući tragediju u svojoj Poetici naveo je katarzu kao pročišćavanje emocija sažaljenja i straha njihovom eksteriorizacijom kroz recepciju tragedije. S vremenom je pojam katarza prešao iz filozofi je u brojne druge znanosti poput psihologije, sociologije, književne teorije i sl. U općem kontekstu, katarza označava iskustvo pozitivne psihičke preobrazbe koja može nastati iz naših pozitivnih ili negativnih iskustava, pri čemu se pozitivni ili negativni osjećaji dovode u emocionalnu ravnotežu. Aristotelova teorija o katarzi nadahnjuje do danas, iako su se javljala i oprečna mišljenja (od Platona do Brechta) da su emocije opasne te ih treba držati pod nadzorom, a ne izražavati i pročišćavati. Aristotel je o katarzi govorio u sklopu definicije tragedije, ali ju nije definirao, pa su se kroz stoljeća javile brojne interpretacije.
More...
After the end of the communist regime in Albania, culture and its institutions were the areas which had to suffer the most extreme damages and transformations. It was not only the way of thinking for a new way of managing, but its infrastructure as a whole, on a regular basis has suffered from considerable damages. In a different point of view, there was also a further considerable departure of individuals and the artistic community with the phenomenon of emigration.In these conditions, the first step that was taken was the drafting and implementation of legislation through which cultural and artistic institutions could operate, as well as free private initiatives. Firstly was first introduced the concept and were taken steps for drafting an intellectual property legislation, the law on cinematography, theater, cultural heritage, libraries and the book, in accordance with the recommendations of the expert representatives of the European Union authorities. Further, the first efforts were made by setting up working groups to draft the first strategic drafts on art and culture as well as medium and long-term budget projections. Consequently, the first effects of a cultural policy aimed at implementing a new administrative-legal platform were felt. This policy would firstly respect the principles of decentralization and secondly the cooperation with the homologous structures of the countries of the Balkan region and further with those of Europe and beyond. The various phases of the reform did not always brought the expected expectations with the projected objectives. As a result, the transition to art and culture institutions lasted somewhat longer than in different sectors of Albania’s socio-political development.
More...
Frei Luís de Sousa by Almeida Garrett: a pragmatic analysis of the theatre dialogue. In this article, we analyse, from a pragmatic point of view, the dialogue of the play Frei Luís de Sousa by Almeida Garrett and its translation made by Maxime Formont at the beginning of the 20th century and published in Livourne. We focus on the strategies used by the participants in the theatre discourse in order to consolidate and sometimes even to renegotiate their interpersonal relationship. Our main interest concerns the use of nouns and pronouns in the 1st Act. For a better understanding of the socio-historical context of this play, we propose a short introduction to the 19th century, in Portugal. We also present and analyse some important para-textual pieces of information that accompany the translation made by Maxime Formont.
More...Gérin, Annie (2018) Devastation and Laughter: Satire, Power, and Culture in the Early Soviet State (1920s–1930s). Toronto: University of Toronto Press.
More...
This paper looks into the particular leisure time activities and popular sports of pleasure in secular life of rural Pakistani Punjab which is the main reason for the production of popular posters. The methodological foundation for this research study is based on ethnographic surveys. This research study takes an interdisciplinary approach with close observation of public spheres where visual data was found. The popular posters discussed in this study provide a delightful sight for the viewer with a basic sense of the narrative through frozen images whose form is derived from different sources of popular, traditional and modern art cultures. Though naïve, such posters are actually a complex maze of cultural, aesthetic and social values that have shaped the way the poster functions as an object of art, as an icon and a commodity. This study argues that on one hand, the popular posters and advertisements are not only the frozen images of our lived culture but they also evoke a sense of nostalgia and on the other hand they develop an understanding of how economic, political and ideological systems utilizing a similar field of cultural production ultimately create a rich heritage of “cultural capital”.
More...