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On October 12, 2018, the Scientific Library USARB held its section LIBRARIANSHIP AND INFORMATION SCIENCE at COLLOQUIA PROFESSORUM, the 8th edition on Tradition and Innovation in Scientific Research, dedicated to the 73 years of the foundation of the University and the Library. The section was moderated by Elena Harconiţa, the director of SL USARB. Within the section were presented 12 papers and launched 3 works published by librarians. During the session the librarians talked about the implementation of the International Projects, about the results of the study on the informational needs of the SL USARB managers, the activity of the University Library in the pages of the newspape ,,Pedagogul” 1970-1990 years , etc.
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Review of: Krešimir Nemec: Leksikon likova iz hrvatske književnosti, Ljevak, 2020.
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MŁODY CZŁOWIEK WKRACZAJĄCY W DOROSŁOŚĆ W OKRESIE WOJENNYCH ZAWIROWAŃ PRÓBUJE – Z DUŻĄ DOZĄ SAMOŚWIADOMOŚCI – ROZPOZNAĆ KIERUJĄCE JEGO ŻYCIEM WARTOŚCI. STAWIA PIERWSZE KROKI W STRONĘ „CATA”.
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Љиљана Чолић, Оријенталистичко дело Глише Елезовића, Филолошки факултет. Универзитет у Београду, Београд 2019, 325 стр.
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In this article, Debora Vogel (1900–1942) is depicted as one of the most important art critics and theorists of the 1930s. In Polish as well as in Yiddish she designed a set of ideas both elitist and, at the same time, most tightly related to everyday-life in which art was considered essential to life and „life” itself – in the sense of a banal and eternal ballad. Behind this thought we see, quite substantially, the art of Marc Chagall. His paintings served Vogel as proof of the main thesis of avant-gardism that content equals form. The equal status of life and art is researched by Vogel through the lens of up-to-dateness – something she comprehended as a construction of reality in her work, not as an art manifesto or an expression of political views. Starting from Hegel’s aesthetics, the Lemberg-based intellectual moved on to materialist dialectics and became a follower of Lu Märten, the pioneer of Marxist aesthetics. Vogel’s poetics of life and her conceptions of art were versatile, rooted in philosophy, i.a. in Jakob von Uexküll’s theory of subjective perception. The latter’s conception of a functional circle contributing to a turn in the perception of the avant-garde, is reviewed in the article. Finally, several questions are put forth referring to the relevance of Henri Bergson’s and Georg Simmel’s thoughts for Vogel’s comprehension of art.
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This essay examines the notion of the fantastic in Debora Vogel’s work. I argue that the fantastic for Vogel is simultaneously a novel artistic form and a form of life, as well as a singular use of language; it is both a “trait” of modernity and thinking of modernity. The fantastic is analyzed as a key term in the author’s understanding of modern design of space and objects through discussions of “Dwelling in its Psychic and Social Function” (1932), the critic’s essay on lived space. I demonstrate that Vogel’s reflections and theorizing of the fantastic are not necessarily aimed at the development of pure theory and concepts but rather at the performance of the fantastic in the author’s own theory-praxis through the lens of Vogel’s essay on poetics, “White Words in Poetry” (1930). The essay discusses various types of the fantastic which finds itself between matter-of-factness and phantasm: the fantastic of ingenuity, the fantastic of asymmetry, the fantastic of color, and the fantastic of simplicity. All of these different types set forth the unconcealment of truth.
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By the late 1920s in Europe new art directions were regarded as already completed phenomena, a part of “avant-garde tradition.” Such views were expressed by Jean Arp and El Lissitzky’s in their book Kuntismen (1925), and by Amédée Ozenfant’s in Art. Bilan des arts modernes en France (1928). Similar opinions were also voiced by Jan Brzękowski, a Polish poet and critic, who regarded this time as a period of “establishing certain values” rather than new breakthroughs. In this article I discuss Brzękowski’s strategies as a spokesman of modern art, an intermediary between the Parisian artworld and Polish avant-garde, an author connected with constructivism (a member of “a.r.” group), and also with surrealist circles in Paris. My main focus is his magazine “Sztuka Współczesna – L’Art Contemporain” (1929–1930) and his series of articles “Mileages,” in which he summarizes the developments of modern art. Conscious of the “wearing up” of avant-garde ideas and critical about seeking “novelty” for its own sake, Brzękowski tried to establish a progressive position based on the idea of formal discipline and creative construction. While rejecting a mimetic conception of art, he argued for abstract artistic form that would be “anchored to the bottom of life,” thus emphasizing the interplay of abstract and figurative elements and their dialectic.
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