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The events from a hundred years ago, the centenary commemorations about the 1st World War make especially timely the revelation of that age’s cultural history. The society of Transylvania was sorely tried because of the events and in the meantime it illustrated the sufferings endured as a reflection in a mirror by its spiritual, value-creating power. This thesis is the first summary of the history of art’s references of the four war-time years concerning us. It presents the works of art of the creators who made a service in the field revealing the backgrounds of their genesis. There is distinct chapter joining all these which flashes the fates of the P.(O.)W. camps’ Transylvanian survivors on the basis of a manuscript unpublished so far.
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U prvoj svesci “Starogradske pesme” nalazi se izbor od deset najlepših i najpopularnijih starogradskih pesama između dva rata, među kojima posebno mesto zauzimaju”Kreće se lađa francuska”, “Tamo daleko” i ”Što se bore misli moje”.
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Posle Oktobarske revolucije brojni ruski umetnici emigrirali su u Kraljevinu SHS i doneli svoje narodne i zabavne pesme, koje su u srpskoj prestonici ubrzo postale veoma popularne. Srećna okolnost je bila ta da je u to vreme (od 1920.) u Beogradu već postojala velika i uticajna (najveća tada na Balkanu) izdavačka kuća Muzikalije Jovana Frajta, koja je u svoj projekat Narodna izdanja (Edition populaire) uvrstila objavljivanje te dragocene ruske, a uskoro i naše, muzičke baštine. Jovan Frajt (češki muzičar koji od 1903. živi i deluje u Beogradu kao violinista, dirigent, kompozitor i izdavač), vlasnik te izdavačke kuće, ostvaruje saradnju sa dvoje „naših“ Rusa koji su svoju umetničku karijeru izgradili u srpskoj prestonici ostavši joj verni do kraja svojih života, a to su: poznata interpretatorka ruskih i ciganskih romansi Olga Jančevecka (Brest-Litovsk,1890 – Beograd, 1978) i kompozitor i prevodilac Sergej Strahov (Moskva, 1901–Beograd,1945). U nevelik broj notnih izdanja ruskih narodnih pesama Frajt uključuje i rusku popularnu (zabavnu) muziku koju objavljuje uglavnom u vidu manjih albuma što je praktikovao i kada su bile posredi npr. makedonske, slovenačke ili dalmatinske narodne i popularne pesme. Frajt je već u prvoj godini (1920.) svog izdavaštva objavio dve ruske pesme i to u sopstvenom aranžmanu za glas i klavir: Hrizanteme i Oči čarne (EF33), a sledeće i romancu Vihažu (EF127). Najveći broj ruskih pesama Jovan Frajt je objavio 1935. godine (oko 17). Među njima su i dve najpoznatije: Crveni sarafan (EF 744) i Dve gitare (EF 744). Ova izdanja ruskih popularnih pesama za nas imaju istorijski značaj. Ona s jedne strane upotpunjuje sliku sveokupnog doprinosa ruskih emigranata na polju naše muzičke umetnosti između dva rata. S druge strane ona su pored domaćih izdanja američkih i nemačkihih autora popularne muzike bila treća dominantna, a specifična komponenta koja je uticala na formiranje i razvoj žanra popularne (šlagerske) muzike u Srbiji. U trećoj svesci iz serije Muzika beogradskih kafana, salona i klubova, naslovljenoj Večernji zvon sabrano je 37 ruskih narodnih i popularnih melodija.
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A New book by the Béla Balázs- and Arnold Hauser award-winning author. The Symbolism of the Film Today wishes to explore how the psychological and social problems of today’s people are represented generally in typical and some more significant films made recently. Films often depict psychological coldness, indifference, spiritual cynicism, narcissism, the growing power of addictive disorders, the dissolution of gender roles, the crises of marriages, the distortion of childhood, and infantilism as its normal consequence more sensitively than the social sciences following in their footsteps. The book gives detailed analyses of outstanding films, which made great advances towards the way of expression and experience today. For example, of Hitchcock’s Psycho, highlighting its historic significance by explaining that in the film sublime is surpassed by horror and melodrama by thriller. The author pays special attention to Pasolini’s Salo or the 120 Days of Sodom, in which love is surpassed by crude sexuality. Verhoeven’s films say farewell to the classic mythology of heroism and happiness, which is shown by discussing the film entitled Turks Fruit as the last important tragic romance. In a final overview, the mythology of happiness is surpassed by the mythology of horror and lust, which takes place in the second half of the 20th century. The present book is the subsequent volume in the series: Jenő Király: The Symbolism of the Film, volumes 1-8.
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A Cube Spelled in a Sphere provides an analysis of the artistic output of Jerzy Juk Kowarski – one of the most eminent Polish stage designers – focused predominantly on the issues of understanding and creating theatrical space. A point of departure in the discussion and a characteristic leitmotif of the disquisition presented in the book is the idea put forth by Étienne Souriau. By the end of 1940s, this French philosopher referred to a cube and a sphereas two basic models of performing arts and saw the essence of the theater in a contradistinction of the cubic and spherical principles of space organization. Juk Kowarski’s theatre experience, who applied mathematical intuition in his oeuvre, has verified philosophical speculation of Souriau. Theatrical space, which he has shaped since 1973, subject to numbers and shapes of geometrical figures, that is, squares, circles, straight lines, points, triangles, rectangles, and especially two perfect solids – a cube and a sphere – has displayed both spherical potential set in the closure of a scenic cube, and cubic – in theopenness of theatre spheres. Aside from the tension between the spherical and the cubic space, Kowarski’s theatrical scenery also distinguishes itself by a consistent inscriptionof mysterious signs in the theatre reality that point to interdependence of micro‑and macrocosmos. That which made the author of the present book attempt at illustrating Kowarski’s oeuvre by juxtaposing the selected old and contemporary, physical, cosmological, and philosophical concepts that deal with the understanding of space, was Kowarski’s treatment of the theatre medium as a room for a cognitive‑artistic experiment, a laboratory, where one can freely, for seen as an experiment, confront the world, as well as fascinationwith scientific theories. In his quest for suitable forms of scenery design, as well as other objects, for example, the installations, discussed here, placed in public space, the artistconsistently aims to shape them in such a way that they can contain an unlimited number of places, themes, styles, solutions, epiphanies, expressions, and aesthetics. At the same time, it will allow for weaving the staged dramatic narrative between basic ambivalence of the world illustrated by means of abstract notions – between chaos and order, simplicity and complication, locality and globalism, constraints and infinity, necessity and probability, andfinally between the ultimate opposition between physics and metaphysics. Juk Kowarski creates spaces that can indicate focus within cubic point of cosmic‑theatrical sphere, both the familiar and those forces of the world that we only sense. Such a powerful spatial form can be called a machine of play – a mobile that grasping the ideas of a performance in a form that culminates all energy and staging senses – in spatial structure reveals a model of a worlddeciphered by the theater.
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A book written by a singer, lyricist, composer, guitarist, one of the most important figures of Polish underground music. The publication perfectly reflects the atmosphere of the birth of punk and reggae in communist Poland and contains the portraits of top artists of this period.
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One of the most well-known texts written about art and also an exceptional phenomenon in 18th-century writing on art. Very soon after publication (1795) it was circulated internationally and by the beginning of Romanticism it had already become a classic of art commentary. It sums up a period of several years of Diderot’s life, in a large part devoted to the arts, preceded by years of deliberations on the physiological determinants of the reception of art and by studies on the psychology of creativity.
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The volume encompasses the Burgundian art and culture related mainly to the prince’s court in Dijon and Paris, as well as the Netherlandish art created in the middle-class circles, primarily in the wealthy cities of Flanders and Brabant (Burgundian-Netherlandish tapestries, goldsmithing and miniature painting, Burgundian panel painting, Burgundian monumental stone and bronze sculpture and Netherlandish mobile wooden sculpture). First of three volumes presenting the synthesis of the artistic culture in an important region of old Europe, written by the expert on the subject. The series can be read as a thorough analysis for the specialists, as a coursebook for the students and as an interesting book for the wider public.
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This book analyzes the manifestation of nature in coming of age mov-ies. The constitutive feature of the coming of age film is the presence of the rites of passage into maturity. These rituals follow the initiation schemes described in anthropological works. Usually it comes to them in nature: in forests, in deserts, away from home. Drawing from Jungian psychoanalysis, religious studies and theories concerning myths, tales, symbols, this work draws attention to the symbiotic dependence that connects the film heroes with the life cycle present in nature. Nature at the threshold of adulthood usually appears as a dense, fertile, self-living (though often coincident with the experience of the "human" hero) life. Nature in this approach allows teenagers to distance themselves from familiar areas and embrace new, exciting sensations. Summer holidays allow to experience adventure of adolescence – the background of most coming of age movies.The first part of the book entitled Szałasy concerns stories in which the main motive is a journey towards adulthood, sometimes forced, sometimes funded at own request. The school of survival, which is located in the wilderness, teaches independence and courage. Films revolving around the survival growing up type force the protagonist to kindle bonfires, hunt animals – to create metaphorical or literal huts. In Stand By Me (1986, directed by R. Reiner), boys from an American town from the late 1950s are going on a trek along the railway tracks to see the corpse of their peer hidden in the forest. In The Kings of Summer (2013, directed by J. Vogt-Roberts), modern high school students decide to escape from home comfort to the surrounding forest, where they build their hut styl-ized for Thoreau. In Walkabout (1971, directed by N. Roeg) a teenage heroine and her younger brother orphaned by her father wander through the Australian outback, while in the Polish short documentary Płyną tratwy (1962, directed by W. Ślesicki) Mietek from the Augustów village is goes for the first time to work by the timber rafting. The stories quoted are bond by the rite of passage with risky initiation attempts and nature, which is great, lofty and dangerous. Letniska – the second part of the book – focuses on summer holidays, love and nature, which more than a dense jungle resemble an overgrown park or an en-chanted garden. Nature harnessed by the experience of a vacationer no longer encourages crazy trips, but to walk and not to sleep all night long. In such circum-stances, teenagers from the pioneer camp in One Hundred Days After Childhood(1974, directed by S. Sołowjow) experience a painful love initiation. In A Day in the Country (1936) by Jean Renoir, on Sunday spent in nature, a young girl leaves her parents for a moment to experience the true feeling in love for the first and last time. Dancing w kwaterze Hitlera (1968, directed by J. Batory) and Crazed Fruit (1956, directed by Kô Nakahira) tell about summer love in a more bitter and angry tone. The film crowning the second chapter, and in a sense the whole work, is By the River Nowhere (1991, directed by A. Barański), which in perverse way uses the motives of the coming of age cinema, but does not differ from the genre.The book's focal point is the attempt to determine the essence of youth, which is subject to the story of puberty, as well as to define what is left behind by the time of adolescence. Youth is defined not as a state but as a process exist-ing as much as it still exceeds itself. The story revolving around the initiation scenario operates with a certain tonality, offering the viewer not only a specific mood (nostalgia or joyful expectation), but also a vision of great and short youth. Its volatility is emphasized by the clearly marked "here and now" in which the main part of the story takes place. The moment is struck by impressionism in the loud croaking of frogs, the sound of wind in the leaves of the trees or the shots of the sun looking out from behind the branches.
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The book is an attempt to document Polish-Czechoslovak, as well as Polish, Czech and Slovak puppetry collaboration. It also provides an analysis of the phenomenon of mutual influence between these theaters. The inspiration to write this book comes from a visit of the Czech and Slovak artists to the Polish puppetry theaters, which is particularly conspicuous in the Silesia region. Unlike the Polish theater, the Czech and Slovak puppetry tradition is long and rich, which resulted in the situation that Czechoslovak puppetry took root in the tradition that was enhanced by the imposed doctrines of social realism, whereas Polish puppet theater was shaping more freely with no encumbrance. Thus formed Polish style which made use of visual texture and various means of expression that transcended the traditional idea of a puppet, and experimenting with the power of expression by using a puppet along with a real human actor, proved inspiring to the neighboring country of Czechoslovakia. At the turn of the 1970s and 1980s Czech and Slovak artists commenced appearing on Polish puppet stages. With the advent of the 1980s these visits turned into a close international collaboration. Among the most active artists on the Silesian scene were: from Slovakia, Marián Pecko and his team (Eva Farkašová, Jan Zavarský, Pavol Andraško, Robert Mankovecký); from the Czech theater, Matěj Kopecký, Miroslav Vildman, Karel Brožek, Petr Nosálek, who brought their collaborators (Alois Tománek, Petr Litvík, Tomáš Volkmer, Pavel Hubička, Pavel Helebrand, Nikos Engonidis). In the 1990s Polish puppet theaters boasted guests from Zaolzie; among them were Rudolf Chowaniok, Paweł Żywczok, Halina Szkopkowa, and Janusz Klimsza. At the same time Czech artists, such as Karel Brožek, Petr Nosálek, Jakub Krofta, became artistic directors of the puppet theaters in Katowice and Wrocław, which was an unprecedented phenomenon. Apart from the above-mentioned artists, there are others working for puppet theatres in Silesia, as well as in other regions of Poland, namely, Norbert Bodnár, Simona Chalupová-Pěničková, Hana Cigánová, Karel Fiszer, Vacláv Kábrt, Pavel Kalfus, Josef Krofta, Lukáš Kuchinka, František Lipták, Zdeněk Miczko, Jan Polívka, Ondrej Spišák, Libor Štumpf, Povel Uher, Marek Zákostelecký. These artists represent older generation as well as younger ones, who completed their studies at the faculty of Alternative Art and Puppetry in Praha. This particular situation did not remain unnoticed as Hanna Baltyn claims that the Czech and the Slovak rule, and Henryk Jurkowski asks whether this means an invasion. Therefore, questions arise as to what extent the Czech and Slovak presence in the Polish puppetry is conditioned by the opening of borders, community of cultural references, and weakening position of the Polish theater, or whether it is the result of permanent cultural fluctuations. This publication seeks answers to these questions. In addition, it depicts most significant performances staged in Silesian theaters in 1980–2010 by artists from Czech and Slovakia.
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The publication is the first complete study in the form of an academic catalogue of the artistic works by Cyprian Norwid (1821–1883), one of the most outstanding authors in the history of Polish culture. The complete, six-volume edition of the catalogue will include all that was drawn, painted or created in any other technique, that is, it includes drawings, watercolors, paintings and oil studies as well as graphic works, designs for sculptures and medallic works. Apart from the works that have been preserved, also ones that are considered lost, but were published during the artist’s life or after his death, as well as works we only know by their titles or from even minor mentions will be included.The catalogue will include both works with indisputable artistic value and rough sketches like notes in the form of drawings; and also, apart from loose compositions – works drawn on pages of sketchbooks and albums; moreover, drawings that are found in Norwid’s artistic and journalistic texts, in his letters and notes.Volume Four of the catalogue contains the second part of the section: Loose Works, comprising Norwid’s sketches and watercolors painted in the years 1858–1883. Each catalogue item contains complete information on the work, along with its complete bibliography and a color illustration.
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A cross-sectional analysis of issues related to the ontology of sound in film. Using the definition of art formulated by Władysław Tatarkiewicz, the author discusses methods of creation, function and perception of the sound layer as well as its importance in creating film reality. The subject matter, presented from a cognitive perspective, relates to auditory construction of the film form, the creation of the aesthetic experience and expressing emotions.
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Povodom izložbe i pratećih programa: Misliti Jugoslaviju 20 godina posle (Slobodni briselski univerzitet, galerija Salvador Aljende, Brisel, novembar – decembar 2011)
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A selection of the most interesting letters from the years 1745-1768, showing different motivations and aspects of personality of Johann Joachim Winckelmann (1717-1768) and presenting the changes in the aesthetic awareness in the 18th century. The letters, written by one of the most influential art writers of the Enlightenment, are of great importance for the formation of new models of perceiving art in 18th century Europe. They considerably influenced artistic and aesthetic critical writing.
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Series: Sztuka Reżyserii. Sztuka Operatorska (1), ISSN 2720-1732 The art of film encompasses the real world and the unknown, elusive reality, at the same time pointing to what is hidden, unknown and what escapes the strict boundaries of reality. However, the boundary between these two spheres remains fluid and indistinct, because there is a constant flow between them: something new is constantly presented to the viewer and something else is constantly concealed and obscured. What, then, is this monograph not about? This monograph attempts neither to speak about correct aesthetic views, nor to reveal creation formulas, nor to expose formal manipulations, nor to present imperative artistic methods. This monograph only attempts to answer the question of what is the deeper meaning hidden in the actions of a filmmaker?
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