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The article discusses Łukasz Surowiec’s Berlin-Birkenau project under which the artistplanted in Berlin several hundred birches from the area around the Auschwitz-Birkenaucamp. The goal of the work defined by the artist was to create living monuments ofthe Holocaust and to propose the changes in the dynamics of Polish-German relations. In thearticle, I propose interpreting Surowiec’s work through the symbolic role of birches inthe history of Polish culture and environmental history of the Holocaust. Such interpretationreveals the ambiguity of the gesture of replanting trees, the inability to classify it as an act ofgiving responsibility to the Germans or Polish-German reconciliation.
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The article describes Karolina Grzywnowicz’s Chwasty (Weeds) project. In order to provoke the recipients to reflect on the life of the resettled people, the artist cut out a piece of the Bieszczady meadow and transferred it to Warsaw, where the installation was accidentally mowed. Attempting to answer the question why Weeds were destroyed, we examine how accurate the artist’s recognition is that the Bieszczady landscape is a carrier of memory of the resettled people, and then we prove that the part of the meadow, which in the Bieszczady co-created the keenly practiced landscape, is alienated and transformed into a commodity, and thus it loses its culture-forming functions. The project and the concept of landscape closely related to it are analysed from two complementary perspectives: field experience and anthropology of art.
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Maxim Gorky’s person has become a legend already during the writer’s life, andhis perception has been ideologized both in Russia and abroad. This is evidencedby the analysis carried out in the article reception Gorky’s drama in Poland, themost important phase of which was determined by the changing political situation.The reception has changed substantially: from the spontaneous popularity of theRussian writer at the turn of the 19th and 20th centuries through ambivalence in theinterwar period, forced apotheosis after World War II to marginalization after 1989and reinterpretation attempts in recent times. As the analysis shows, a significantpart of Gorky’s plays has survived the difficult test of time. These literary works, formany directors and spectators, are a carrier of universal values, while the authoris considered a classic of Russian dramaturgy.
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The life and work of saint hierarch and martyr Anthim the Iberian become gradually well-known as new testimonies bring forth further pieces of information or correct some approximate or erroneous ones. There are many known aspects concerning the typographical activity of this learned metropolitan of Wallachia. Less well known are the liturgical objects he donated to various holy places or the personal belongings of the great hierarch. Some of them have been mistakenly assigned, others have been recently discovered. This study presents an inventory of the most important cult objects and books, as well as the personal belongings which may be linked to the name of the saint hierarch and martyr, while advancing also some new hypotheses. An additional merit of this study is that of bringing to light a series of Anthimian testimonies kept in forgotten museums and libraries, inaccessible to the public.
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The main inspiration for the article dedicated to aesthetics of picturesqueness in Jane Austen’s novels is W. J. T. Mitchell’s Introduction in Landscape and Power, where he defines a landscape not as a noun, but as a verb. In this context, this term becomes a cultural medium, by which the new political and social meanings of the epoch are transmitted and sanctioned. Selected parts of Austen’s works, in which long descriptions of nature have been replaced by dialogues about a landscape as an artistic, picturesque object, will allow to describe the consequences of the reconceptualization of the nature within English theory of aesthetics.
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In the article, Aneta Jabłońska analyzes a way Witkacy defined art and creative process.Jabłońska discerns a parallel between Witkacy’s terms and interpretations of these categorieswhich were named in modernism. The author of the article shows the conceptions ofart which were described in The 622 Downfalls of Bungo. She also presents how theseconceptions influence the acts of the novel’s main characters (among others of Bungo,Duke of Nevermore and Baron Brummel). Jabłońska distinguishes the following theories:aestheticism of the modern period, aesthetic pragmatism, and modern aestheticism. Thearticle casts doubt on Bożena Danek-Wojnowska’s thesis because Jabłońska proves that in his novel, Witkacy did not opt for any of the theories which he showed in The622 Downfalls of Bungo as each of them was either destroying the artist or denyingthe existence of pure art and its creation.
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The article discusses the features of the artistic interpretation of the sacrum spherein the prose of Maria Matios, in particular in the stories „Solodka Darusia” („SweetDarusia”) and „Maizhe Nikoly Ne Navpaky” („Almost never the other way round”). Theauthor artistically comprehends the tragedy of human destiny against the backdrop ofbloody history of the twentieth century, the author deeply immerses in the psychologicalbeing of a woman, Maria Matios who is looking for the meanings of the phenomenon ofhuman life, which is the most extraordinary because, according to the Christian doctrine,given by God.It is revealed that the sphere of sacrum in the analyzed artistic texts is fi rst of all rootedin the refl ection of purely religious folk experience, which is expressed through the use ofreligiously marked concepts, symbols, allusions in texts. In the spirit of Christian doctrine,the characters of Maria Matios’ undergo a purifi cation process through suff ering: somehave their cross to bear, others rebel, being in extreme situations. The image of God inthe works of Maria Matios is ambivalent, it combines the good and evil in itself, whileHis will remains incomprehensible to a mortal human. The author makes no sense of theopposition sacred – profane, confi rming the axiological ambivalence of the sacred. It wasinvestigated that the writer, besides purely religious segments, gives sacred statuses tohuman feelings, land, water, music, etc. The all-embracing nature of the sphere of sacrumin the prose of Maria Matios extends not only to the world of the alive, but also to theworld of the deceased where there are the souls of the deceased.The functional load of the sacrum sphere in the stories of Maria Matios „SolodkaDarusia” („Sweet Darusia”) and „Maizhe Nikoly Ne Navpaky” („Almost never the otherway round”) is deepened by ethno-national coloring in which the sacred and profaneare especially converging and interpenetrating, where the processes of sacralizationand desacralization are constantly taking place, where Christianity and paganism areclosely intertwined. The universal formula of the sacred worldview, embodied in the artistic discourse of Maria Matios, became the triad of theocentrism – anthropocentrism –ethnocentrism.
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The area of the concept of folklore was not clarified until very late, because the very etymology of the word implies a wide range of fact sand phenomena of popular culture.In Romanian culture, the moment 1848is part of this romantic movement, but it will also have other connotations:the increase of interest in the militant ideas of social and national emancipation, the role of the people in shaping national history and culture. Alecu Russo, in this context, proposes as a unique solution, the regeneration of modern Romanian culture on a folkloric basis.
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The subject of the research is the samples of the rhipidions (=rhipidia / liturgical fan), which have a great importance in the Christian liturgy, in the wall paintings of the Late Byzantine Period (13th-15th century). The first written information about the Rhipidion is in the texts of St. Clementine (end of the 4th century). The Apostolic Constitutions compiled from the old church decrees in Syria from the 4th to the 5th centuries included information about the importance of rhipidions in liturgy. It is described in Pseudo Dionysus' Ecclesiastica Hierarchica, during a liturgical rite in the 500s, that deacons wearing symbolic six-winged clothing on either side of the altar had rhipidions in their hands. It is known that rhipidions, which have information about it in a dipticon dated to the beginning of the 6th century, were made from various materials such as fabric, leather, wood, peacock feathers, parchment and linen for the first time. Apart from the independent examples made of various materials, it is known that the rhipidion is depicted on book covers, on the kiborium and on the altars, and in many other places. These materials turned into metal works with the early Byzantine period and were enriched with precious stones, liturgical and iconographic elements over time. When first used, rhipidions, which were used to remove insects and dust from liturgical objects (artos, kalis, cross, holy book), later became part of the liturgy. Rhipidions, which are made of metal material to be stronger, were used as part of the liturgy until the late Byzantine period and continue to be used in churches today. In liturgy, apart from the clergy holding a rhipidion in one hand and a insence burners in the other, angel-deacons holding rhipidion in their hands are at the forefront of the ritual. It has been proven with the determined examples that more than one rhipidion can be found in the ritual as well as alone. The clergy hold the rhipidions up with the help of long metal or wooden handles so that those who attend the ritual can see them. Symbolic figures (cross, cherub, seraph) and inscriptions on both sides show the stylistic and iconographic richness of the rhipidions. It has been determined that metal rhipidions which are similar in terms of style and features with the Riha and Stuma treasures (6th century) were used until the late Byzantine period and continue to be used today. It is seen that from the early Byzantine period to the late Byzantine period, rhipidions were depicted in miniatures, icons and wall paintings, apart from liturgical works. In this study, the depictions of the Rhipidions on the church wall paintings dated between the 13th and 15th centuries were examined chronologically and evaluated comparatively in terms of form, style and iconographic features.
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The paper discusses several preliminary stylistic elements concerning the interpretation of the Baroque repertory for bassoon. The score of a Baroque music piece is a frame that the musicians-interpreters decorate with improvisations and ornaments. The rules to apply differ from one stage of the Baroque to another, from a geographic area to another, from a composer (interpreter) to another.
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A moment of great significance in the evolution of Romanian art is this nineteenth century, in which the most important musicians will contribute to the patriotic movement through their creations. During this period, the investigations of Romanian researchers to collect and capitalize on folk songs will begin, and the choral, symphonic, lyrical-dramatic creation will enjoy a wide interest from the composers who worked in the second half of the 19th century.
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The highlighting of the functional, thematic and structural aspects in the so-called non-occasional categories highlights the precise and decisive purpose of the creations integrated in the customs. Highlighting human sensitivity through music, especially in doina and song itself, involves certain structures, which highlight unoptimistic colors that deal with a certain intimacy in itself, a strong interiorization, compared to the ballad, where the soloist presents (also in front of a certain audience) the most appropriate “formulas” in full accordance with the epic content this time
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This paper deals with digitally mediated museum experiences of novice visitors at the Kunsthistorisches Museum in Vienna and discusses them in the context of museum inclusion. Research participants included families with young children and members of minority communities in Vienna whose visit was facilitated by two app-based guided tours developed for children. The research goal was to explore the impact of the mobile guide’s digital content and modes of communication on the visitors’ interaction with the guide, with the museum space and objects, and with family members. The families’ interactions were observed, recorded and analyzed. The results suggest that carefully considered and created content on mobile guides has the potential to provide novice family visitors with experiences that support their independence and active engagement, create opportunities for mutual facilitation, and support their different identities, all of which have been considered as conducive to inclusion.
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This article aims to demonstrate the happy and at the same time restless climate that marked the decades preceding the outbreak of the First World War and that, starting from 1919, was called Belle Époque. All crossed by the tremors of a modernity that, in projecting expectations and dreams, could not help but escape the subtle omen of the imminent drama, finds its most emblematic reflection in the figure of the woman absolute protagonist of the art of the time. They are found in the paintings of the various Tissot, Manet, De Nittis, Whistler, in poetry as Baudelaire and Gautier, which have made unforgettable the elegant aristocratic ladies with their precious jewels, adorned with feathers and charming and fashionable hats that, in their refined clothes, exhibit an unusual dreamy and nervous flirtation, Often filled with anxiety, they affirm a new identity of women in the society of the time, emancipated from the stereotypes of decades of female iconography.
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A presentation of the documentary "Alcek and the Bulgarians in Medieval Italy", author and producer Rositsa Lazarova-Sbaralia, director Ivo Ivanov, cameraman Kamen Rozov.
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The National Museum of Transylvanian History owns a graphic work signed by Pablo Picasso. The image represents a blue pigeon holding an olive branch in its beak. Iconographically, the Blue Dove is part of the series of graphic works made by the artist to promote the Peace Movement, born immediately after the Second World War. The purpose of this study is to reconstruct the history of this artifact. By contextualizing it, I aim to decipher the symbolism behind this image. Following its circulation, and establishing its provenance in the museum’s collection, I aim to confirm its authenticity.
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In addition to its thematic collections, the Sarajevo Museum also has its own photo library. At the time it was founded, in 1949, the Museum’s modest museum holdings included a small photo library. Over the next few years much effort went into collecting material, including a considerable number of photographs. Some of these photographs, many of which dated from before the Museum was founded, were acquired by purchase and cooperation with other cultural institutions or individuals who made their negatives, duplicates or original photographs available. The photo library now has 9,037 inventory items with more than 20,000 photographs, ranging from photographs of everyday life to those of a variety of buildings and cultural and historic monuments.
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The purpose of the article is to reveal the role of I. J. Paderewski in realization the patriotic ideas of Poland's independence through the prism of synthesis of creative and political activity. In accordance with the goal the following tasks were set: to consider the figure's biography in interaction aspect of the basic spheres of functioning; determine the personal prerequisites for national ideas formation; to reveal the practical implementation of life credo; to characterize the historical, social and cultural, artistic contribution. Methodology. In course of the research the following methods were used to reveal the presented problems: historical (study of the life story), source studies (elaboration of existing scientific works on related issues), analytical and structural-logical (coverage of the chronological aspect of the problem, understanding the specifics of activities), method of theoretical generalization (to summarize). The scientific novelty. For the first time in the history of Ukrainian scientific thought the figure of І. J. Paderewski was considered as a complex phenomenon of the interaction of human's radically different spheres of activity. Conclusions. The personality of pianists, public figures, orators, politicians, and philanthropists became a main in both the musical and political life of Poland in the late XIX - early XX century. Thanks to his incredible musical talent and rich concert practice, he brought the problem of Polish national identity to the world level and enlisted the support of the most influential circles in matters of statehood. Paderewski’s phenomenon is in his indomitable spirit, faith in the independence of his country, efficiency in all spheres of his life, in the complex unity of poetic art and prudent politics. In the European cultural heritage, this is a unique case of coexistence of contrasting human activities, their mutual functioning in achieving the existential credo of an outstanding person.
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The report examines the complex relationship between vocal science and singing, the application of scientific researches and discoveries about the physiology of sound formation as a necessary part of the methodical work of the vocal pedagogue. In recent years, the demands to build a healthy voice, especially when a mutation occurs, pose a number of questions to the singing teacher. How should scientific knowledge be interpreted and practiced? How should effective learning outcomes be achieved among adolescents? How will scientific advancements in the science of voice enrich methodological tools to build and preserve the voice of adolescents? Is science needed to interfere so deeply in the art of singing and whether the students will sing better if they are aware of the physiology and anatomy of the larynx? The answer to these questions can be found in the shared experience of a number of emblematic names in vocal pedagogy, which have left many vocal books, articles and teaching aids inherited.
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