![Научни форуми. 2015 г.](/api/image/getissuecoverimage?id=picture_2015_26381.jpg)
Научни форуми. 2015 г.
Data about scientific events in the field of the humanities in Bulgaria in 2015
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Data about scientific events in the field of the humanities in Bulgaria in 2015
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In the art of the last few decades, we can see changes and returns to anthropological, social, or scientific research. Activities undertaken by artists were often characterized by abandoning interest in aesthetic issues for social activation or the development of new technologies and materials. Criticism and the history of art recognize this scientific turning point in art as a sign of our time. However, this perspective is not so much a result of new interests in art, but rather a change of interest in the reflection on art. The latter is also visible in the field of other scientific fields such as history or cultural geography, for which the cognitive value of the art of earlier decades and centuries has also become evident in recent years. More and more evident becomes the need to revisit these trends in art, which has so far been analyzed in the rather limited context of the development of international avant-garde art, and the emphasis on formal works of art. In the 70s of the twentieth century, when the conceptualism and directions of dematerialization of the artistic object dominated the art, both artistic practice and reflection on the subject were dominated by the ideals of the international avant-garde. The art of land (Land Art) functioned in this optics as one of many moves towards extending the field of sculpture. Based on selected works by Richard Long, the cognitive values of the art of the land created by the artist in the United Kingdom are recognized, which allow him to be considered a creator interested in local conditions of the relationship between artist and nature, resulting from 18th and 19th century concepts of picturesque and rural space as an English national space.
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This sketch refers to the presence of the artist in the field of social research. The author looks at the situation when the artist on his own initiative enters into the field of scientific research, especially concerning the social effects of the political and economic transformation after 1989. The sculpture and its artistic interpretation were examined in the form of a film by Artur Żmijewski, which came into life during the realization of The Souvenir of Cellulose within the framework of the project Awakening in Świecie in 2009. Both implementations are a kind of group experiment within the wider project Awakening of a curator Karina Dzieweczyńska. The main objective of the artist was to investigate how in an altered socio-economic situation – with the market economy – the form of an open air is working out under the auspices of an industrial plant.
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The aim of this article is the presentation of the Author’s research results concerning the issue of the founder of the wooden church in Haczow, one of the most important sacral architecture monuments in Poland. Dendrochronological studies prove that the sanctuary was built around 1459. The church in Haczow is most definitely one of the oldest, and best preserved monuments of wooden sacral architecture on the Polish lands. The Author assumes that the Piotr Łopatkiewicz founder of the church most likely was Casimir Jagiellon. However, other important roles in the building of the church, were played by then village administrator, Mikołaj Lemkircz, a juror of the Higher Court of German Law at the Castle in Sanok and Mikołaj Klukwicz, townsman and town councillor from Krosno, as well as owner of Haczow village. Presumable contribution to the foundation made by Mikołaj Klukwicz (Krosno councillor) points to Krosno as the nearest and the largest municipal centre from which some of the craftsmen performing carpentry work could have come. A separate issue is the person who was the founder of the paintings in the aforementioned church. The paintings were created (as we know) in 1494. According to the Author, their founder was Stanisław Jeżowski living in Haczow, a noblem and the leader of High German Court in Sanok. In 1494, the year of the painting foundation, Jeżowski borrowed 600 zloty in gold from Mikołaj Juriowski by way of pledge on the Haczow village. This debt may have been directly related to the foundation of the paintings in the Haczow wooden church. Another reason to believe that he founded these paintings is the double presence of the depictions of St. Stanislaus (the founder’s patron saint) in the painting decoration of the church presbytery.
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This paper focuses on the five performances resulted from the cooperation between the French-Tunisian composer and producer Dove Attia and the Japanese all-female popular musical theater company Takarazuka Revue. Based on in-depth ethnographic research and extensive literature review, the phenomenological interpretation aims at highlighting the intricate relationship between the construction of masculinity by means of on-stage representation and off-stage advertising and a progressive sense of national identity in tune with late-modern global tendencies.
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In Cognitive Grammar, the concept of reference point (R) designates the conception of one entity invoked in order to establish “mental contact” with another. The reference point access is a manner of mental scanning of a series of discrete elements in order to find a final element embedded in this chain. In film, we can dissociate between perceptual reference point (pRP) and conceptual reference point (cRP). The pRP can be perceptually present in long takes that, after the editing cut, focus on a metonymic element of a scene in order to track to another section of the scene. The paper analyses several pRP and cRP constructions in film sequences and conceptual phenomena involving metonymy. Diegetic metonymy is compared to symbolic metonymy, which ultimately leads to metaphoric construals. We can also establish metonymic categories used as pivots between semantic domains and metonymies that profile unbounded qualities similar to mass nouns.
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This essay focusses on issues connected with research into the history of exported porcelain from the Far East. To this end, it discusses the literary context of the expressions “the family of roses” and “the family of greens,” and also the genesis, main features, and current terminology relating to the two most widespread techniques of glaze-painting decoration (Kangxi wucai 康熙五彩 and falangcai 珐琅彩).The article discusses the most important techniques of decoration that preceded the development of the Kangxi wucai palette and the relations between technological development and the taste of the period. It also indicates the important items in Polish collections, especially in the National Museum in Gdańsk. From the holdings of this museum, the author selects a plate decorated with wild geese on Lake Taihu. An analysis of the plate – with regard to the technology of its production, aesthetics, and iconography – is the main element in the article. Polish items are presented in the context of important European collections: the British Museum, the Victoria and Albert Museum, the Musée Guimet, the National Museum in Oslo, and the Museo Correr in Venice.The author formulates a new term in art theory: the aesthetics of double foreignness. It makes it possible to give a name to a phenomenon that develops in the process of reception and analysis of objects produced in one developed and isolated civilization, intended for and commissioned by a second civilization.
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The article focuses on various strategies of artists who use live animals in their works. The author presents several examples of works which, in many cases, raised a lot of controversies. His aim is not to judge, but to discuss different approaches, which have one thing in common: they all come from the tradition of conceptual or preconceptual art.
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The article deals with the period of Elektra's creation and discusses both the aesthetic influences, as well as Hofmannsthal's personal circumstances, which prompted him to rewrite the Elektra material. In this period, three persons can be named who were of particular importance to Hofmannsthal's development as a dramatist. These are Hermann Bahr, Max Reinhardt, and Gertrud Eysoldt. The programmatic writings of H. Bahr such as The Overcoming of Naturalism (1981) and Dialogue from the Tragic (1904), but also Hermann Bahr's Friendship and Advice form a time mindy starting point for the drama. In addition, Max Reinhardt's production of Nachtasyl is an inspiration for a new theater model. To the particularly strong impression of the production of Maxim Gorky's Nachtasyl was also Gertrud Eysoldt's acting and talent for mime and pantomime also contributed to the particularly strong impression of the production of Maxim Gorky's Nachtasyl. All the above remarks are made with the help of the correspondence, the estate and the diaries of Hugo Eysold and diaries of Hugo von Hofmannsthal, Hermann Bahr and Gertrud Eysoldt prove. These sources also allow for the personal perspectives and assessments of the artists, which were decisive for the way Elekra was created, to be presented. One aim of this work is also to investigate whether the influence of the three personalities mentioned above may have contributed to the initial writing of the text as a drama that has been claimed so far.
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The paper is the first attempt to map Emil Hácha’s relationship to music and the music scene, providing also an overview of how he was perceived by the music scene. It covers the music-related agenda in the Archive of the Office of the President of the Republic. The text also brings a classification of musical compositions associated with Hácha: gifts, adoration pieces on the theme of Emil Hácha and satirical political songs.
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Wilamowice is a cultural phenomenon on the ethnographic map of Po¬land. Settled in the 13th century by settlers from Western Europe, it has maintained their separate identity for years. From the beginning of the scientific world’s interest in Wilamowice, the main objects of researchers were costumes, customs and language. Although the first attempts to docu-ment the painted Vilamovicean chests were made at the beginning of the 20th century as part of the Sprachinsel Fälschung project, this topic was overshadowed by a more “ideologically meaningful” local costumes or language. Apart from Roman Rainfuss, no one has published issues related to the subject of the Vilamovicean chests phenomenon – wymysiöeryś łóda – until modern times. The ongoing cultural revitalization, focused on the emic perspective, allowed us to look at this phenomenon in a broad, in¬terdisciplinary scope. In addition to an attempt at formal characterization, determining the types and manufacturers, the state of research to date and the preserved specimens, it is possible to grasp a broader cultural con¬text. What was the ancient meaning of painted chests? What were their functions? What beliefs were associated with this piece of furniture? What caused such a small number of surviving copies? How are they stored to¬day? How do they currently function in the culture of Wilamowice? The content of the article attempts to answer these and other interdisciplinary questions, taking into account the narrative of this micro ethnic minority.
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The article presents selected preservation problems encountered during the relocation and reconstruction of the partly burnt wooden Evangelical Church of the Augsburg Confession from the Bobrek District of Bytom erected in 1932 in a light-frame construction with elements of glued wood. Restoration and construction works concerning the church’s foundation in the Museum “Upper Silesian Ethnographic Park in Chorzów” lasted from November 2016 to September 13, 2017, and were completed with the solemn reconsecration of the church. The church from the Bobrek District of Bytom belongs to a group of prefabricated wooden objects of temporary character erected in the area of Upper Silesia in the interwar period of the 20th century. The church was manufactured by the “Christoph Und Unmack” AG Niesky (O.L.) company. During the restoration works it was necessary to solve a number of problems resulting from: untypical construction of the girders and main supporting and stabilizing elements which were made of glued wood; use of non-durable building materials in the form of low quality wood, as well as insulating, covering, installation and decorating materials; temporary and cheap character of the object, which was the reason for erecting the church from the Bobrek District of Bytom with the use of the most simplified and thus the easiest structural solutions and joinery. Additional obstacles encountered during the works included: inventory mismanagement, dismantling and security of the object during translocation and storage of the dismantled material; the lack of the clear legal requirements concerning the scope of fire protection of wooden objects and the knowledge of the properties of recommended preservative and protective agents; the need to adapt the facility to new functions in accordance with the modern requirements of the Building Law Act of July 7, 1994; the current opinion of the local community on the value of the original church decor originating from the period when the church was mainly used by the evangelical community of German nationality.
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This article explores the concept of public service and public interest. Drawing on the philosophies of Martha Nussbaum, Virginia Held, and Nancy Fraser, the presented text contests traditional political-economic and cultivation theories that emphasize efficiency, performance, and perfection. Instead, it posits an approach that integrates human vulnerability as a valuable aspect of the “good life,” thereby fostering a richer understanding of public interest. It criticises the exclusive and perfection-focused narratives, proposing inclusive “counterpublics” that recognize and value diverse community interests. The 2018 performance of Frljić’s “Our Violence, Your Violence” in Brno, CZ provides a tangible illustration of these concepts, showcasing how theatre can function as a democratic platform for dialogue or fail in this mission due to paternalism. The article concludes with a call to reimagine public service in theatre to encourage democratic decision-making, appreciate human vulnerabilities, and foster dialogue and inclusion.
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In Canada, Yukon First Nations are politically powerful and, when viewed by an outsider, everything appears to be progressing well. But the adoption of the Western political model has a downside. We have generally sacrificed our culture for that political power. The loss of our culture has resulted in many social problems and this essay discusses what has resulted from those problems, specifically our high death rate. Ironically, our death ritual, the Potlatch, is one of the strongest surviving cultural traditions we still exercise, while our languages, laws, art, lifestyle, and spirituality are almost all forgotten.
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In this paper we chose to study the influence of music therapy with the help of Boomwhackers instruments on the following skills: sustained attention, short-term memory, phonemic hearing and reading fluency in students with severe and associated impairments, among students from disadvantaged backgrounds. I considered this type of intervention useful because the effectiveness of music therapy is proven in many situations both in typical children and in those with atypical development. The students participating in the study have music among their passions and because of this, their implication activities was achieved without much difficulty. Also, the use of Boomwhackers was of high interest for the students and they were always excited to participate in the activities. The results obtained in the study prove the effectiveness of the intervention, as improvements were observed in all the evaluated areas.
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The village of Istibanja, Vinica region is an example of a village with a very strong connection with tradition and there is an active performance of customs throughout the year. This paper will present a part of the vocal tradition from this village, which represents a particularly significant fragment of the complexity and richness of Macedonian musical folklore. The focus of the paper will be on the male vocal tradition in which two-part singing occupies a special place. Special attention will be given to the analysis of the musical characteristics of examples of male two-part songs.
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Cameraless photography was born short after the invention of photography in the XIX century. Henry Fox Talbot is one of the pioneers of photography. He created cameraless photography called his works photogenic drawings. In the XX it`s associated mainly with Man Ray, Laslo Moholi-Nagi and Christian Schad. The article begins with description of some of the most popular ways to achieve this kind of photography. The author tries to trace the development of cameraless photography in Bulgaria by researching a photographer called Elisaveta Barkova. She is not well known because of her modesty and her early death in 1995.
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The article presents considerations showing the child's musical creative activity located in the space of early school education. The paper highlights artistic activities undertaken during creative music workshops carried out in integration with selected art areas. The efforts made by the verification studies led to the results that confirm the effectiveness of the assumptions made.
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The article aims to analyze the phenomenon of music style in its historical evolution, as well as the principles of the emergence of stylistic invariants. Style acts as a predetermined structural-semantic entity and a means of arranging the sound matter. Invariants on different levels of musical speech are the subject of Firuz Ulmasov's works – I project the concept of invariants onto style. If in pre-Romantic music, including non-avant-garde modernism, the stylistic invariants possessed certain sufficiently definite musical meanings, serving as actual musical “words” – intonations, then the disintegrated matter as an invariant of avant-garde and post-avant-garde styles bears the meaning of negation of all the traditional (baroque-classical-romantic) connotations. On this basis, new meanings of the arranged chaos are built from the remains, which the listener should reveal after the composer.
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The history of the march as an applied genre and as a “genre within a genre” is a topic that has attracted the interest of many researchers from various perspectives. Examining this emblematic and relatively steadfast genre can unveil unexpectedly rich material for analysis through the lens of style. The focus is on marches found in operatic and concert works by Mozart, Verdi, Honegger and Vladigerov. The study encompasses both a historical-theoretical perspective and a pedagogical approach related to building competencies in the education of students – future music teachers.
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