Karl Kraus: figure jezičke sumnje

Author(s): / Language(s): Serbian

The book “Karl Kraus: The Figures of Lingual Suspicion” , is a collection of 30 essays written by prominent theoreticians and experts on Austrian literature and culture: Georg Knepler, Hans Weigel, Walter Benjamin, Elias Canetti, Lucien Goldman, Theodor Adorno to name but a few. The collection attempts to reconstruct international reception of Kraus’ literary work, pointing thus at the connection between language and society which is particularly obvious in times of wars and crisis. The collection consist next chapters: Kraus in Yugoslavia; Kraus and his Thime; Satirist on the Stage; Kraus’ School of Resistance; Figures of Lingual Suspicion; Eroticism of Viennese Modernism; Kraus and Contemporaries.

Technikatörténeti örökség a kalotaszegi Magyarvalkón

Author(s): Enikő Bitay,László Márton,János Talpas / Language(s): Hungarian

In the history of a settlement the aspects linked to technical history are of major importance, as they are part of the course of culture and civilization. Research work, the insertion of findings in the complex of historical sciences is up-to-date in present historiography.This book contains the results of research in the field of technical history, research done in Văleni-Călata. The settlement appears for the first time in the written documents of the XIII-th century (in 1213) under the name of Vulchoi villa. As the years passed the settlement became also known as Wolcov (1291), Walko (1297), Wolko (1372), and Walko again (1468).In the year 1291 the settlement was among those ones that were paying taxes to the bishop of Oradea.The name of the settlement is most likely linked to the name of the noble Valkay family, onwer of lands, whose last representative disappeared in the year 1730.From the point of view of the settlement's history the XVIth and XVIIth centuries brought about great changes. Reformation, the invasion of Tartars, the multiple fires - all had benefic consequences. The devastated church was rebuilt and a fortress was erected around it. The tower was built and it got the function of a watchtower as well, in the fortified defence system of the settlement.The church is placed in a lovely region, under the protection of a forest arch. The building is architecturally well balanced, its tower has an unmatched robustness and it can be regarded as one of the most beautiful churches belonging to the Reformed Episcopate of Transsylvania.The general architectural characteristic of the church belongs to the Gothic style, although it also has a series of elements of the Roman styleand Gothic, respectively.A special feature, unique to this church in the whole region is that, the space under the tower is part of the pro–nave, augmenting its dimensions.From the point of view of technical history the counter–fortress walls of the church are made of adzed rectangular stones, this being a real demonstration of the skill of the carvers of the time. As a binding element mortar with lime was used and this gave the building enough resistence. The church is entirely covered with shingle. This refers to the church tower and also to the four small towers with cellular ceilings painted by the renowned carpenter and church ceiling painter Lőrinc Umling. This adds to the architectural and artistic value of the church.The monumental aspect is better underlined owing to some elements of building in Roman style originating from the previous building. These elements were organically incorporated in the present architecture of the church.The church tower gives home to three liturgy bells and a small bell to presignal the stroke of the horologe. Two of the bells, the biggest in dimension, were casted in Cugir in 1924 by the bell founder Oszkar Klein. The third bell originates from the bell foundry of the Andraschovski family in Cluj. For over a century the family had been known as famous for casting bells, a tradition passed on from father to son. The bell from Văleni wascasted in 1855 by János Andraschovski. The three bells are beautifully decorated in Baroque and Gothic style. They are placed on a wooden rack made from oak wood carved with a poleaxe. The wood of the rack is the very casing of the bell bail axes.Keeping company to the bells is the horologe built to the special order of the parish in the year 1839. As to where, and in which workshop of the time it was built, one doesn't yet have an answer. It is believed that the building took place in Oradea because this is the place of origin for several other horologes of the churches in the neighbourhood. This particular horologe is made up of three functional modules. The first module is the one that makes the horologe work and it rules the other two. The second module is responsible for the strokes of the quarters, while the third module makes the pre–signal bell work.The pre–signal bell marks the hours and it is located at the extremity of the tower, above the southern part of the porch. This porch surrounds the tower and it is used as an observation turret. The horologe worked till the mid–seventies of last century. At the moment it is incomplete, as its cinematic chain of movement transmission to the clock hands and the pre–signalling bell is missing.A chapter of the book deals with the presentation of the folk architecture development in the settlement. The evolution of the wooden constructions specific to the region is shown: the system of scaffolding and covering, the ornamentation of the facades. The development of the living space is dealt with in a sub–chapter of the book. Here one can come across examples ranging from the most simple living spaces with one room to the more sophisticated ones, set in an order characteristic not only to Văleni but to the entire region of Călata.Among the specific aspects of regional folk architecture one can put into evidence the widespread use of carved or uncarved spruce masonry, daubed either on one or on both sides.The structure of scaffoldings is detailed and so is the shingle covering that replaced in a relatively short while the prevalent straw covering of Călata.Owing to its position in the vicinity of the forest, the settlement came to be noticed as a center for the folk handicraft of shingle fabrication. Shingle was traded outside the settlement too. Handicrafts specific to mountainous regions can be found here woodwork and carpentery. The Văleni dwellers were nicknamed "the resinous ones" because of the spruce resin on the clothes of the people who processed it.Another business specific to the settlement, with a technical side to it, was the carving of spindles and of the nicely decorated, washer shaped spindle weights. These washers have a central orifice corresponding in dimension with the lower diameter of the spindle. This gives stability and inertia to the spinning during the process of spinning the hemp or woolen yarn.The yarn was at the core of another handicraft - the weaving of textiles for husehold needs. The spindle makers used an arch - like device. The string wrapped around the carved, semi-fabricated body of the would - be spindle and the movement generated by the bow gave the semi-fabricated item a bidirected rotation move. The semifabricate body was fixed between two heads and the whole assembly formed a primitive lathe that rounded the spindles. A similar device, used to round off and perforate pieces can be found in the Roman epoch too.Shingle fabrication and spindle making survived in Văleni till mid-XXth century. From that point on industrial products in building material and textiles have gradually replaced the famous products of the Văleni craftsmen.The findings presented in this book are the result of field investigation and registry document study. They demonstrate the fact that although a certain region has been "exhaustively" studied so far, new research and investigation can reveal other characteristic aspects of that region, unnoticed so far.Considering this, the book has the value of pioneering and of a model to be followed for those who wish to study a settlement from the point of view of technical and technological history.

Пјевање уз гусле

Author(s): Dimitrije Golemovic / Language(s): Serbian

History of Latvian Art Theory

Author(s): Stella Pelše / Language(s): English

This volume is the first in the series of doctoral dissertations initiated by the Institute of Art History of the Latvian Academy of Art and intended to make art-historical research more accessible to a wider public. The book provides an historical survey of ideas in Latvian art theory (1900–1940) so far not examined in detail. General problems regarding visual arts are in focus, particularly definitions of art. Texts under scrutiny have been selected from a wide variety of sources – books, collected articles, magazines, newspapers, unpublished manuscripts, diaries, etc., authored by artists, poets, critics, historians and representatives of other professions. The influx of radical changes in Latvian artistic practice since the late 1980s has also increased the role of theoretical statements, inviting elucidation of historical precedents. Where should one draw the line between acceptable and even necessary “alien” elements and blind submission to foreign avant-garde examples? The conclusion that Latvian culture exists at the cross-roads of the most diverse influences reveals a persistent situation of choice that is not only a matter of the history of art theory but also of theoretical thinking on art in the present.

Nawiedzani przez dym

Author(s): Agata Araszkiewicz / Language(s): Polish

„Nawiedzani przez dym” jest zbiorem esejów dotyczących literatury, sztuk wizualnych oraz problematyki społecznej. Wielowątkowe, niezwykle aktualne i atrakcyjnie napisane obserwacje z perspektywy Paryża, Brukseli i Warszawy pokazują, czym w dzisiejszym globalnym świecie jest dialog międzykulturowy i jak tworzą się wartości zjednoczonej Europy. Agata Araszkiewicz łączy ogromną erudycję ze sprawnym i kompetentnym wykorzystaniem języków filozoficznych i teoretycznoliterackich. Na książkę składają się przede wszystkim felietony pisane od 2003 roku dla „Czas Kultury”, a także kilka powstałych w ostatnich latach tekstów poświęconych najnowszej sztuce polskiej.Agata Araszkiewicz (1971) – autorka rozpraw z dziedziny feministycznej krytyki literackiej i filozofii; tłumaczyła Luce Irigaray. Jej pasją intelektualną i emocjonalną jest relacja matka-córka. W 2001 roku wydała „Melancholię Zuzanny Ginczanki. Wypowiadam wam moje życie”. Związana z czasopismami „Czas Kultury”, „Obieg”" i „Krytyka Polityczna”. Ma swój blog o sztuce Flaneriaa! (www.flaneriaa.blox.pl). Mieszka w Brukseli.

Драматургия на българското

Author(s): Nikoleta Patova / Language(s): Bulgarian

This monograph offers the first of its kind historic and functional research of drama as a constructive, stabilizing and identity-interpreting ideological and artistic structure. To that end, the analyses, apart from the literary and cultural ones, set forth anthropological and social-psychological perspectives, as well, and that explains the multi-spectrum overview of Bulgarian identity during the second half of XIX century. The analysis of identity as an idea, character, sign and the inter-text approach used in the research allow for a large portion of the dramaturgical pieces to be included in new semantic paradigms, to outline unexpected parts of their world of meanings. The text contains various, non-traditional statements about drama as a possibility to interpret the ideas of own and foreign of the Bulgarian national revival and initiates in scientific requisition some little known and researched dramatic works dating from the age of the Bulgarian national revival.Proceeding from the understanding that identity is created in the complex relations between person and society and in inter-societal relations, as well, the monograph analyses examine the complex interaction of identities that the dramaturgical works expose and search for the collective image of the Bulgarian. The proverbial drama and comedy works stand alongside with dramaturgical texts with arguable artistic value, as all of them represent equally effective attempts to offer and form the signs of Bulgarian identity. The literary and cultural interpretation of the artistic texts is intertwined with the new spiritual, social, economic and ideological process during the crucial for Bulgarian society XIX century.The story about the process that Bulgarian national revival dramaturgy uses to mold the idea of Bulgarian is given in chronological order and is divided into four main parts that encompasses the historical past of Bulgarian people, the struggle for religious independence and national stereotypes provoked by it, as well as the complex relations between “own” and “foreign” that are inevitably made clear during periods critical for the community. The attention and analysis in Chapter One – “Dramatic Narratives of the Past: Mythologization and Symbolism”, is directed towards various elements that illustrate the creation of the paradigm of the heroic and the dishonorable. The narrative of the Bulgarian follows the major milestones in the development of community awareness. The heroic characters of Bulgarian national revival drama have their symbolic uses – out-of-context, the characters are perceived as models of the group/national virtues, as carriers of the “national spirit”. An attempt was made to summarize the main characters that come to the figures of the Ruler, the Warlord, the Prophet/Preacher, the Traitor and the Enemy. Bulgarian national revival works create or co-create three of the emblematic national symbols – Rayna Knyaginya, Hadji Dimitar and the first Bulgarian national anthem “Shumi Maritsa”. Chapter Two “Identity and National Symbols” tells of their rising in the light of cultural analysis. The next part “Return to the Present: From Symbolism to Reality” examines the identity-religion relations. The common image of the Greek clergy recreates the national stereotype of the “foreign” – Greek, firmly molded during the struggle for independent Bulgarian church.The final chapter – “Identities: Reality and Desiderations” comments on the Bulgarian national revival projections of modernity. Comedies and social drama pieces expose the confusing otherness. Through those, the drama of choice is followed that originates from the crisis of society readjustment. This final part reveals the Bulgarian fears and longings of Europe. The problematic cores that analyze the “own – foreign” relations are named here. Dramaturgical comments are set forth in the wide thematic field that shapes the questions “Who must we be” and “Who must we not be”. The answer to the former is more difficult to find and that is why it is no accident that Bulgarian national revival drama pieces do not succeed in creating a memorable positive image of the Bulgarian. One of the general contradictions of national identity lies in discovering the balance between tradition and modernity. In the ability to suppress the longings for the foreign and to master the fears of it.Dramaturgy looks for the ideal examples of the Bulgarian in the folklore or in more distant history. The building of identity is a dynamic process that assumes uncertain values in the 1870s. A constant in the molding of the ideas of the Bulgarian is the realized attitude toward it as a ground for pride. The assertion of Bulgarian honor and dignity is now valued as the most positive behavioral model.Bulgarian national revival dramaturgy is one of the most active participants in building the foundation of the Bulgarian national pantheon. The second half of XIX century, when this genre arises and is developed in our literature, is the most dynamic time of the national identity debate. Dramaturgy speaks and implies the significance of the Bulgarian, fills it with dignified content and attempts to predict the threats to national identity.

Szkice o (nie)oryginalności. Konteksty i interpretacje

Author(s): Ryszard Solik / Language(s): Polish

Essays on (non-)Originality reflects on originality itself and on originality of the work of art. Originality is understood here as a relational and redefinable property within historically changeable circumstances and contexts. It is related to the act of questioning the objectivistic or essentialist reading of the work of art and qualities ascribed to it. As a result, also the autonomy, completeness, and independence of the artistic object – and, thus, the fixity of sets of notions used to describe it – have been questioned. “The myth of the work of art in itself” – allegedly capable of self-defining its specificity because of its substantiality – has been replaced here with the perspective of contextual entanglements; within their structure, originality proves to be negotiated instead of being settled once and for all. The questions raised in this text refer to historical ambiguity of originality, contexts of redefinitions, the discourse of modernity, and dilemmas connected to chosen phenomenaof contemporary art, which – paradoxically – longs for originality and simultaneously undermines it in numerous ways. Therefore, the presented contexts of these reflections include both traditional art and the problems that multi-paradigmaticity of contemporary artistic practice, and the hybrid nature of conceptual and interactive art cause within the discourse of originality.

Różnorodni przez sztukę. Edukacja artystyczna w środowiskach zróżnicowanych kulturowo

Author(s): / Language(s): Polish

The aim of this collective work is to encourage the readers to reflect on the current state of artistic education – now and looking into the future.

USUNĄĆ DO 30 DNI

Author(s): Zofia Smełka-Leszczyńska / Language(s): Polish

Obecność plakatów wyborczych jest elementem rytuału demokracji. Należą one do współczesnej ikonosfery, są traktowane jako irytujący, ale konieczny rekwizyt demokratycznego spektaklu. Czas ich życia w przestrzeni publicznej jest krótki – pojawiają się w kampaniach wyborczych zaledwie na kilka tygodni. Po ich zakończeniu są usuwane przez nadawców (zgodnie z przepisami powinno to nastąpić w ciągu 30 dni od ogłoszenia wyniku wyborów), zaklejane następnymi reklamami albo zdzierane w części bądź w całości przez konkurencję polityczną lub publiczność.Ze wstępu Autorka stara się nie tracić z pola widzenia głównej idei, iż świat, w którym żyjemy, jest rzeczywistością nastawioną na interpretację, a więc sens semiosfery wynika z wzajemnego sprzężenia nadawczo-odbiorczego teksto-obrazów, wśród których upływa nasze życie zwane „uczestnictwem w kulturze”.Z recenzji prof. Wojciecha Burszty Autorka poddaje analizie zarówno znaki i symbole graficzne obecne na plakatach, jak ich język. Zwraca uwagę ,że ów „test wyborczy” podlegał ewolucji wraz ze zmianami zachodzącymi w demokratycznym życiu publicznym. Od odwołań do najszerszej wspólnoty narodowej, której desygnatem była odmieniana w 1989 r. przez wszystkie przypadki „Polska”, poprzez wyodrębnienie stanowisk poszczególnych sił politycznych reprezentujących konkretne wartości i wskazywanie ich wroga, do komunikatów maksymalnie ogólnych, nastawionych na pozyskanie jak najszerszego poparcia dla haseł, które trudno zakwestionować.Z recenzji dr. hab. Jana Skórzyńskiego

Религия и образование. История, традиции и съвременни тенденции

Author(s): / Language(s): Bulgarian,Russian,Polish

This proceedings present the results of the international scientific conference „RELIGION AND EDUCATION IN THE PAST AND TODAY“, organized and conducted by the Department of Theology of the Faculty of Philosophy and History of The „Paisii Hilendarski“ University of Plovdiv, held between the 15th and the 17th of November 2018. The conference was attended by representatives of all Bulgarian Universities, where Theology is taught, but also was attended by colleagues from related majors - pedagogy, history, philosophy, sociology, art history, history of music, architecture - from Bulgaria and from Russia, Ukraine, Poland, and USA. A separate section was formed, where the scientific and practical contributions of teachers teaching religion took center stage. We begin with „Historical and Contemporary Aspects of Religious Education“, where an attempt is made to describe the current state of the problem and to formulate the main challenges. The section „Religion and Tradition“ includes texts that trace the vivid historical examples of teaching - from the New Testament era to the twentieth century. The central section „Religion and Moral Education“ follows, in which different approaches and results in the work with specific groups and in different historical and social contexts are discussed. The section „Education in Religion and Secular Education – Pedagogical Approaches, Social Realities, Philosophical Projections“ further develops the topic by collecting texts problematizing the place of religion in the general education school and the possible pedagogical, normative and practical cases it raises. The collection ends with the section „Christian art - educational and theological aspects“, where the possibilities of using art as a way to better involve different groups of students in religious education, but also outside it, are presented and discussed. It raises important questions for theology and pedagogy for today‘s world, and offers possible ways to solve them. We hope that this second volume of the series will generate both scientific and public debate and will serve for the better integration of religious education in the Bulgarian school.

goEast - 1. Festival des mittel- und osteuropäischen Films

Author(s): Bernd Kiefer / Language(s): English,German

goEast - 02. Festival des mittel- und osteuropäischen Films

Author(s): Natascha Drubek / Language(s): English,German

goEast - 03. Festival des mittel- und osteuropäischen Films

Author(s): Hans-Joachim Schlegel,Bernd Kiefer / Language(s): English,German

goEast - 04. Festival des mittel- und osteuropäischen Films

Author(s): Hans-Joachim Schlegel / Language(s): English,German

goEast - 05. Festival des mittel- und osteuropäischen Films

Author(s): Hans-Joachim Schlegel,Petr Šafařík / Language(s): English,German

goEast - 06. Festival des mittel- und osteuropäischen Films

Author(s): Hans-Joachim Schlegel,Živilė Pipinytė / Language(s): English,German

goEast - 08. Festival des mittel- und osteuropäischen Films

Author(s): Hans-Joachim Schlegel,Flóra Tálasi,Ulrich Gregor,Bernd Buder / Language(s): English,German

goEast - 09. Festival des mittel- und osteuropäischen Films

Author(s): Sergiy Trymbach,Nicolas Šustr / Language(s): English,German

Український незалежний культурологічний журнал «Ї» — № 91/2018

Author(s): Oksaiia Zayachkivska,Lesya Mateshuk-Vatceba,Volodymyr Semeniv,Lubov Gotsko-Ney,Zenovij Masnyj,Oksana Stadnyk / Language(s): English,Ukrainian

In order to make the thorough mendacity of Putin's rhetoric about "Ukraine as a State of Neo-Nazis" fully evident, CEEOL is offering the Ukrainian Jewish journal ”Ї“ as the strongest possible proof of a habit of "modern Ukrainian and world intellectual thought". The NGO "Ї", an independent cultural organization founded in the late 1980's in L'viv, focuses on modern Ukrainian and world intellectual thought. It offers periodic forums for discussion of issues concerning Ukraine and, among others, Europe, Russia, post-Byzantium, the Muslim Renaissance. It analyzes the current situation in order to develop future socio-political strategies. The organization also publishes "Ї", a quarterly journal dealing with European and Ukrainian issues in politics, philosophy, and culture. It also examines the relationship of Ukrainians with Russians, Poles, Austrians, and Jews and places Ukraine in a modern geopolitical sphere that can further Ukraine's identity as a modern state.

goEast - 22. Festival des mittel- und osteueropäischen Films

Author(s): Heleen Gerritsen / Language(s): English,German