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Publikacje za rok 2018
List of publications on Wadowice and the surrounding area, which appeared in 2018.
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List of publications on Wadowice and the surrounding area, which appeared in 2018.
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While considering mythology as a system of symbols, the article deals not only with the developmen stages of mythological systems and its elements as mythographic inventory, but it sheds light on some particular characters of classical mythology found into the body of Albanian epic traditional songs. Through several arguments, the paper explores mythological paradigms, focusing particularly on common heroes in conterminous cultures and looks at the motives, background and traditions of epic traditional songs, which travelled round the region. Many of the motifs of the songs may have originated elsewhere, but they are also found in the Albanian cultural area. Alongside the characters and cultural heroes of Homeric myths in the Albanian epic songs and fairy tales too, there are also some other arguments about the myths originating from the theater or myths inspired by theater motifs. This separation of “theatrical myths” from “Homeric myths” buttress the idea that in addition to singer-bards and itinerant-nomadic rhapsodic, the theater played also a placental role in feeding up and spreading out ancient myths in Albanian epic songs and in oral fairy tales. Among many other cases, there is the one regarding the presence of a variant of the Medea’s myth in epic songs, typically sung in the Northern Albania. Besides to the well-known ways of culture emigrating and “rhapsōidos”, the article proposes at the same time other ways of migrating the myths away from the known place of creation and their possible arrival in the Albanian Epos, while also highlighting the role of theater and theatrical repertoire.
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Throughout most of history, children with hearing impairments were on the margins of society. Because of their place in society, research about the possibility of music perception and engaging actively as a professional musician and dancer, started at the end of the 20th century. Although that progress started at the end of the 20th century, children with hearing impairments from Bosnia and Herzegovina don't have enough support of educational system which could include them in art education. This situation we can especially see in field of music and dance, which are very hard for adjustment because of their sensory impairment. To prove that children with hearing impairments can perceive music and improve their motor ability with the help of dance which is not at their age level, we created a special educational program which consists of music-dance workshops, where the main goal is to improve body coordination and speed of movement with musicrhythmic stimulations and dance. In this program, which last four and half months, we included 14 girls with hearing impairments from eleven to fifteen years of life. At the beginning of this program, we performed initial measurement of body coordination and movement speed, and at the end of this four-and-a-half-months long program, we performed final measurement through five standard tests: Eight with banding (MKOS), Steps aside (MKKS), Envelope test (MKKT), Slalom with three medical balls (MKS3M) and Long jump backwards (MKSUU). For effect analysis of applying musical-rhythmic stimulation, we used t-test for final samples (paired samples test). The results of this research are showing us that there is statistically significant difference in ability of body coordination and movement speed and that this musical-dance workshop program has positive impact on development of chosen motor ability.
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Literary Text (drama) translated from Danish by Aleksandar Šajin: IGRICA SA BOROM.
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When it comes to the Tuzla theater scene and the ancient tragedy, that is, the tragedy based on ancient motives, there is no enviable historical material, for several reasons. The primary thing is that in the entire theatrical tradition of Tuzla, for which it is known, a very small number of tragedies based on ancient motifs were performed, only ten plays in the period from 1949-2011. years. In addition to the stated “scarcity” in the very setting of tragedies with ancient motifs, there is also a “scarcity” when it comes to historical and critical material. Lack of notes, criticism, all reduced to mere announcements or newspaper reviews of plays. Even if the Tuzla theater scene has a rich theatrical tradition, it is mostly dominated by comedies and dramas. In the work on ancient tragedies on the stage of professional theater, plays with the mentioned theme were analyzed, which were performed on the stage of the Tuzla National Theater. The engagement of dramatic texts created from the pen of Greek tragedies is also manifested in the stagings that were made at the turn of the millennium.
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Different people from different fields of activity see the same thing differently. There is also a point of contact between two understandings and two notions. The crisis caused by the manipulative pandemic is perceived by theater successors as a space for gaining freedom in which they can reexamine the relations between theater and the individual, as well as theater and society on many levels. There are many stories. From the one about the origin / disappearance of the theater, if not in some ancient period, at least in the South Slavic one from nine decades ago, or for what period. And there is the story of the position of the actor and theatrical worker, as well as the ultimate story of the disappearance of man, if the pandemic and technological devastation is multiplied at lightning speed. For the space of freedom, the theater fights with the staging of everyday life that unequivocally affects everyone. Theater as an institution, actors and man himself. The space of freedom through which such states are resolved is not found, but created. Through a theatrical act that does not wait for the opportunity (s) to solve them, but creates them. The freedom worth fighting for in the face of the scourges of modern times cannot be in vain. Such an effort is justified in every way. The artistic one, but also the social one. And through the theatrical act in the plays performed on the festival stage of the XXXVII Meeting of theaters / theaters in Brcko, it turned out that such a space of freedom is realistic and possible.
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Аристотел је у својој ПОЕТИЦИ, већ врло рано, забележио: „...није песников задатак да износи оно што се истински догодило, него оно што се МОГЛО ДОГОДИТИ, и што је могуће по законима вероватности и нужности.” [О песничкој уметности, IX, 21] Питање је просто и провокативно. Савремена домаћа драма не постоји, или... Одговор може бити врло једноставан: Има је, постоји, али... Није потребно да узимамо неке податке давнашњег датума који би послужили као илустрација о доста активном односу савремених драмских писаца у писању драмских дела.
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The offensive of the theatrical alternative against the closed artistic space in the canons of the realism of the first post communist decade is carried on through its aesthetic dimension. The alternative attitudes, which are increasingly taking place in the scenic landscape of the Republic of Moldova, urge the artists to look for new models of theater organization, new ways of creating performances, to transcend the boundaries between arts, to discover unconventional spaces for playing. It is worth noting, however, that the aesthetic performances of the first shows in the alternative evolutionary route support the political agenda of the time. The revolution in art and the revolution in society go hand in hand, overcoming the artistic and political censorship.
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This research undertakes to situate representation in relation to painting, literature and cinematography. Since Plato and Aristotle mimesis is the central concept in analyzing literature and aesthetics. In modern art, the spectre of representation refers to the inner world of the artist; the artist gives rise to a self-representation within which the object is disintegrated. Therefore, there is always a reconstruction and a resignification involved in the process of symbolisation. To represent is to present again – the entire history of art since the Renaissance offered different attempts of solving this assertion. The work of art is not an ordinary mimetic image, but, on the contrary, it becomes a model/ prototype for the creator who, as a representing subjectum, moves in imaginatio. Although representation creates worlds of illusion and therefore it should not be confused with the reality effects, we argue that it has provided in cinematography the existence of the so-called „le spectacle de la vérité”.
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Starting with 1921, the Transylvanian Association for Romanian Literature and the Culture of the Romanian People (ASTRA) included in its scope of activities a cultural propaganda through theater, aiming to support the cultural emancipation of the Romanian people in Transylvania, especially in the small towns of the province, where the situation of cultural-artistic life was poor. Financially supported by the Ministry of Religious Affairs and Arts, the ASTRA Association managed to set up a theater movement in Sibiu, with a view to enriching the cultural life of Transylvania, cultivating the artistic taste of the audience, promoting Romanian literature and the spiritual values of the Romanian people. This study analyses a series of unique documents in the ASTRA Collection, which reveal less-known aspects of the activity of the ASTRA Association.
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This paper observes the origin, development process, and influence of zadarski tanac [the dance of Zadar], the only dance that the local community considers specifically its own. It belongs to the field of so-called “cultural-artistic amateurism,” and is approached first from the perspective of dance, and then from that of music. The choreography emerged in 1997 and soon after disappeared from the scene, only to resurface in 2013. It is performed by two folklore societies currently active in Zadar, whose recent emergence is closely linked to the recognition of this dance as their own tradition. Apart from the music and dance, the paper deals with the lack of folklore amateurism in Zadar for almost two decades. The aim of this paper is to shed light on the genesis of zadarski tanac, legitimately recognized as Zadar’s heritage (primarily thanks to the activities of two Zadar folklore societies), and thus contend with numerous ideas about the origin of zadarski tanac.
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This paper deals with the notion of non-knowledge through performative experience. It touches upon the thought process mechanism, the possibility of being outside language, the norm, and the meaning of such experience. The performance entitled Non-Human is used as illustration, which means that the study constitutes research in practice. It refers to the notion of zoe as the pure, unbounded life force and separates the importance of identity from the being and becoming. It examines the possibility of entering the prereflexive and expressing it, testing its capacity of communication. Is cogito the only way to identify ourselves as human?
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Serbian clubs in Vienna are cultural-artistic and sports organizations derived from former Yugoslav clubs founded by Yugoslav guest workers in the 1970s. Initially, clubs expressed their affiliation with the homeland through their work, guided by the ideology of brotherhood and unity and expressing the Yugoslav identity. The disintegration of Yugoslavia and conflicting national ideologies in the home country strongly affected clubs in the diaspora. As a result, clubs were divided according to a national-ethnic basis. Since the 1990s, the clubs in Vienna have been turning to the presentation of national identity and national programs, which is especially evident in the work of folklore sections. This paper aims to present and analyze one aspect of the activities of Serbian clubs in Vienna – the choreographing process, which I will interpret within the system of commodifying practices. I start from the hypothesis that, precisely because of national ideology and strongly present nostalgia among Serbian migrants in Vienna, amateur choreographers from Serbia manage to retain the “market” for their choreographies, presenting them as “authentic” products that “preserve the tradition” of the mother country. The work is divided into two larger units: 1) an ethnographic presentation of the choreographing process and questions of its authenticity; 2) an analysis of the process of commodification of dance and choreography.
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The present paper focuses on the proprioception and its relation to linguistic actions. The main objective of our analysis is to establish a set of phrasal units which refer to strictly specified components of the proprioceptive sense and help to develop the proprioceptive awareness. The presented analysis of linguistic material relates to a very specific communicative situation – a modern dance workshop. Thus, our starting point are linguistic actions of dance teachers, which are supposed to enhance the development of the proprioceptive abilities in participants of the modern dance workshops. Therefore, we assume that the “proprioceptive information” is composed of two elements: (motor) presentation of a given movement, and linguistic instructions given by the dance teacher, who describes the movement schemas by means of figurative language. Thus, the following questions are of interest: Are there any correlations between the specified proprioceptive components and their descriptions? Are the proprioceptive components described in a systematic way with the help of figurative language?
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This paper shows the time from 1953 to 1979 in the programs of amateur theaters of the Czech minority in the Daruvar area, which I called the golden age of operettas. It makes an important part of the cultural history of the Czech community in Daruvar and its area. The operettas were preceded by a musical and theater amateurism without which they would be impossible. Theater amateurism was nurtured in the theater/drama groups of Czech beseda, and the musical assumption for the development of operettas was made up of wind orchestras in Daruvar and its area, mixed musical bands, the Daruvar Musical Society and the Singing Choir of the Grammar School in Daruvar. The leaders of the operettas in Daruvar, Lipovac (Ljudevit Selo), Hercegovac and Ivanovo Selo were Josef Knytl, Václav Částek and Ivan Sitta, the names of whom are connected to the following operettas: Vesnice zpívá, Z chaloupek pod horami, Na ty louce zelený, Sládci, Románek krásné cikánky, Silva, Za naši saláši, Mládenka z kovárny, U svatého Antoníčka, Zmoklá slepice, Hloupé děvče z naši vesnice, Ja jsem malý mysliveček, Odtroubeno, Jak si Kačka štestí vysloužila and Eliksír. The concluding part of the paper considers the reasons for their disappearance in the Daruvar area and notes the considerations of the Czech minority of today on them. The original master’s thesis on this topic which was the basis for this was comprehensive. Here I bring the summary of that paper based on the data received from people who were active participants of the operetta productions or who remember their performances. When writing, I relied heavily on the stored material archived in the Czech Alliance in the Republic of Croatia in Daruvar which also holds some portions and librettos of a few operettas, as well as on the notations from the Czech beseda Daruvar archives which describe details on each theater piece performed by the amateur drama society. By connecting the field work with the archives, I attempted to reconstruct the process of setting up the operettas as closely as possible, from their rehearsals to performances. I also relied on the reviews and articles published in the Jednota magazine, as well as on other publications of this news-publishing institution. The operettas had an educational role, as well as a role in guarding the culture and mother tongue. Working on them enabled the members of the Czech community to get to know the musical literature and gain the experience of performing such a musical-scene piece which was unknown on the local amateur theater scene of the time. The members of the minority, ranging from the youngest to the oldest ones, worked on the operettas and performed in them. The three key initiators and leaders of the operettas positively influenced future generations as pedagogues, organizers, directors, and bandmasters with their work.
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The article concentrates on Estonian performance art and its reception in the Finnish print media during Perestroika, mainly the years 1988–1990, when the first trips of the artists across the Iron Curtain took place. The period of study is framed by the metaphors of “kiss” and “loss of innocence”. The former designates the first encounters of the Estonian performance artists with the west, marked by a specific event in 1988 when the artist Siim-Tanel Annus (b. 1960), having for the first time sailed on a ferry from Tallinn to Helsinki, kissed the Finnish cost on arrival – an event which was widely covered in the Finnish media at the time. “Loss of innocence” stands for the transition from earnestness to cynicism in performance art at the end of the 1980s as described by the artist Raoul Kurvitz (b. 1961). The transition corresponds with the shift from idealisation of the west to the sobering to the reality of capitalism. Contemporary art reviews offer ample study material of the tension between metaphorically loaded performance art of the era and the turbulent politics of the day. Having been situated simultaneously in the mythical as well as contemporary reality, performance art acted as a living metaphor for the political events.
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The article is devoted to Dostoevsky’s participation as postmaster Shpekin in a charity performance of the comedy by N. V. Gogol “The Inspector,” staged on April 14, 1860 by amateurs in the hall of Maria Ruadze’s house on the Moika embankment near the Polizeisky Bridge. Along with Dostoevsky, 25 amateur actors were engaged in the performance. Their names are known from the showbill published as an appendix to P. I. Weinberg’s memoirs of this event. Dostoevsky interacted with the participants of this production during several rehearsals that began on March 31, 1860, and directly during the performance. However, fewer than half of the participants of this performance are registered in S. V. Belov’s encyclopedic dictionary “F. M. Dostoevsky and his entourage,” and most of them are engaged in stage episodes without Shpekin-Dostoevsky. The article contains biographical data about amateur actors who participated in the production of “The Inspector,” who interacted with Dostoevsky in the collective creative process, went on stage together with him, but who have not been previously mentioned in the biographical literature about the writer.
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Cette oeuvre prézente revolution historique du théâtre de Bacău dans la premiere part de sa existence par la periode des années 1852—1900.
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The article makes an attempt to create a typology of movie characters played by Marilyn Monroe. Her film roles are classic examples of typecasting. Since Monroe was a type of a sexy blonde, that was what she played in her movies. Whether it was a comedy or drama, her sexiness defined the entire character. However, the attributes of the sex bomb Marilyn combined with other features: of an innocent child, a lost and helpless girl, a sensitive and tender woman. These three types of characters: a child-woman, a female buddy, and a woman-partner, make up the full picture of Monroe’s femininity with which viewers interact during the cinematic mystery and which create an artistic, social and cultural phenomenon called ‘Marilyn Monroe.’
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The study deals with the dramatic works of a writer, professor of the Evangelical Lyceum of the Augsburg Confession in Pressburg, Tobias Gottfried Schröer. As a citizen of German descent striving to avoid the harsh censorship of the time, between 1820 and 1849, he published his works under various pseudonyms. Under his real name, he published only textbooks and three compendia intended for the Lyceum students. In Germany (Leipzig, Hamburg, etc.), he was quite a well-known writer; his short stories, poems and plays were published in various almanacs and collections. His drama work is almost unknown, and the number of his plays (existing as primary sources, including those that are only referred to), we estimate at fifteen so far. They were written approximately between the years 1806 and 1846, which testifies to their author’s lifelong interest in theatre and story dramatizations. A historical drama Leben und Thaten Emerich Tokoly’s und seiner Streitgenossen [The Life and Deeds of Emerich Tököly and His Comrades-in-arms by A. Z.] (1839), published in Leipzig under the pseudonym of A. Z., and a comedy Der Bär [The Bear] (1830) can be considered the most important.
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