Иконография на дванадесетте големи църковни празника в средновековната стенна живопис в България (ІХ–ХІV в.)

Author(s): Lilyana Mavrodinova / Language(s): Bulgarian,French

The Iconography of the Great Feasts of the Orthodox Church in Mediaeval Frescoes from Bulgaria (9th-14th Century) This study aims to present the developments of the medieval iconography of the Great Orthodox feasts in Eastern Christian states, first of all in Byzantium, in summary and accessible form, by highlighting the place and characteristics of the monuments in Bulgarian lands. It is outlined, albeit sparingly, the place of the Bulgarian monuments in the context of medieval Eastern Christian iconography in terms of the twelve biggest church feast. There are shown the main sources and the development of iconographic schemes and details, as well as the preferences of donors and masters for one or another type of image. In shaping of iconography of Byzantine cultural community, researchers have identified a combination of Syro-Palestinian base, Hellenistic techniques and borrowings from triumphant imperial art. When the Bulgarian people accept Christianity, these elements are already assimilated by the Byzantine art of the victorious iconodules and superimposed in our country over the old traditions and practices of art from Pliska and Preslav, preserved the memory of earlier influences in touch with the peoples of the East. The taste for drama in some of the Bulgarian monuments, mostly from the periphery of the country, connecting them with pre-Iconoclasm eastern models. At the heart of the iconography of most of the official monuments from the Second Bulgarian Kingdom, there is a balance between the older Eastern tradition and the elegance of more classic monuments from the Byzantine capital. Perhaps here we have a complex influence of tradition and new events subdued for some time the power of Constantinople as an artistic center, conquered by the Crusaders. The iconography of the Bulgarian medieval frescoes fits into the mainstream of the Eastern Christian iconography dominated by Byzantium, as it is associated primarily with the monuments of the neighboring Balkan countries. Many details, however, testify to the close relation to other nations of the Eastern Christian art community, such as Russians, Georgians, Armenians, and Ukrainians. After the Crusades, there can be found some iconographic elements typical of the art of Western Europe, but, given the influences and interrelationships of the Roman area with Byzantium and its eastern provinces and greater cultural exchanges, there is more to say on this issue despite some valuable studies.

Technikatörténeti örökség Magyargyerőmonostoron

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 context of historical sciences is up-to-date in the present historiography.This book contains the results of a research in the field of technical history, done at Mănăstireni-Călata. The settlement was recorded by the documents in the XIII-th century, more exactly in the year 1291, with the name of villa Monostor, then in 1446 it is known under the name of Gyerewmonostor, in 1572 as Gerőmonostor and in 1586 as Magyar Gerő Monostor.In the year 1291 the settlement was among the 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 Gyerőffy family, owner of lands.From the point view of the settlement’s history the XVI-th and XVII-th 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 church tower was built and used as a watchtower as well, in the fortified defense system of the settlement.Situated in a beautiful location, through the balance of its proportions and the harmony of its tower, the church can be considered one of the most beautiful places for workmanship belonging to the Reformed Episcopacy of Transylvania. This is the oldest church in the Călata region.From the print of view of the general architectural current the church belongs to the Gothic style, although it also has a series of elements of the Roman style.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 the carvers of the time had. Mortar with lime was used as a binding element and this gave the building enough resistance. The church is entirely covered with single.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 present architecture value of the church.The church tower hosts two liturgical bells. The big one was cast at Târgu Mureş, in 1988 as an exact copy of the old bell, which cracked in 1987. The old bell was cast by the famous bell caster János Andrásofszki from Cluj, in 1778. The smaller bell is the work of Emil Anca from Cluj, and it was cast in 1923.Accompanying the bells is the horologe, built at the special order of the parish in the year 1834, 5 years before the horologe of Văleni was built (Văleni is a village neighbouring Mănăstireni). The name of the builder is unknown, but the place where it was built is Oradea. The horologe is made up of three functional modules.One of the modules 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 marks the hours. The horologe worked till the mid-seventies of the last century. At the moment, the horologe is disassembled and it can be found in the church vestibule.A chapter of the book deals with the presentation of folk architecture’s 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 we can come across examples ranging from the simplest living spaces with one room to the more sophisticated ones, organized in an order, specific not only at Mănăstireni, but also to in the entire region of Călata.Among the specific aspects of regional folk architecture one can put into evidence the widespread use of carved or un-carved 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 time, the prevalent straw covering of Călata.Due to its position, in the vicinity of the forest, the settlement was known as a center for the folk handicraft of shingle fabrication. Shingle was traded outside the settlement, too.Another occupation with a technical character and specific in the region was the pottery and the fabrication of glazed tiles for heating stoves. Master Debreczeni Márton becomes famous in this trade in the XIX-th century, with his beautifully decorated glazed tiles.The ironmongers and wheelwrights of the place were famous all over the Călata region and they were active until the 70.-s of the last century.Due to the favourable natural resources for building and using watermills (there are fast brooks passing through the settlement, with a constant flow all year round) many mills, saw mills, reeds and pivas have been built that were both necessary and useful in everyday life. The book describes the structure and operation of watermills which have disappeared perhaps forever.The findings presented in this book are the result of field investigation and document registry 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. The book has the value of pioneering and is a model to be followed for those who wish to study a settlement from the point of view of technical and technological history.

Technikatörténeti örökség Kalotaszegen a gótika árnyékában

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

Călata, an area with particular history and folklore, generated a specific, unmistakable architectural style, used especially in the construction of churches. Combining in harmony the Transylvanian tradition of the style and techniques used in the construction of the fortified Saxon churches, those of the Orthodox churches made of wood and of folk architecture in the area, the Călata style refers to churches with slim towers and shingle roofs. Most of these religious buildings, characterized by a perfect harmony of their proportions, most of them built in the Romanesque style and located on the most visible sites of the settlements, represent, even today, the attachment of the inhabitants to spiritual continuity and their homeland in the area of Călata.Five churches, built during the thirteenth and fourteenth centuries, stand out among the complex of such buildings in Călata through the fact that they share a series of architectural elements typical for the late Gothic style, with elements characteristic for the Transylvanian Gothic, with roots leading towards a beginning called the Cârþa Context. It was a puritan Gothic style created in the thirteenth century at the foot of the Southern Carpathians, in the settlement of Cârþa, in Sibiu County. The first Gothic church was built there. The style had been brought by the Cistercian monks in their expansion towards Eastern Europe. The first churches in the south and center of Transylvania were built following the style and building technique employed in the erection of the monastic architectural complex in Cârþa. Prejmer, Hărman, Braºov, Bistriþa and Cluj were the settlements adopting these rules in the building of their own churches.Abandoning the specificities of the Romanesque style, with its robust semicircular arcades, and employing a well-known, traditional building technology, people promoted the newdaring style,with tallwindows, full of light, ending in ogees, decorated with sculpted stone rails. It had ogee-shaped inner vaults, supported by profiled ribs ending in sculpted stone corbels embedded in the church walls and rows of slender pillars.The new style reached Călata later, towards the middle of the fifteenth century.Elements of this style were used in some churches, adapted to the architectural con ditions and dimensions of the existing churches in the area. Five such buildings were extended according to the Gothic architectural style, namely those in Huedin, Mănăstireni, Văleni, Căpuºu Mic, and Dorolþu.The first part of the present book consists of a comparative analysis of these five churches, focusing on the presence of Gothic elements and their preponderance in the complex of the respective edifices. The windows, gates, consolidations with buttresses, ogee vaults, and other stylistic elements are compared, aiming at determining, as much as possible, the motivation of those who promoted the new architectural style in this region.The second part of the book continues the research, from the point of view of the history of technology, with the other three Gothic churches, the ones in Văleni and Mănăstireni being presented in detail in two individual volumes recently published. Archive research and investigations have been performed, but on site measurements predominate. The construction, employed techniques, and stylistic elementsof the three churches, in Huedin, Căpuºu Mic, and Dorolþu were the aim of repeated field trips, measurements, and analyses.The bells in the towers of these three churches are another topic of interest in the present research. The history of these bells and of those preceding them, the circumstances leading to the disappearance of some medieval bells from these towers offer, not only to the authors but also to the reader, a true foray in the past of a craft considered up to the present day a top profession.The nineteenth century clocks placed in three of the five churches under discussion, have been, at the time they were bought, peak accomplishments of technology. The fact that these settlements managed to own clocks indicates that there was a social demand for their installation and there were significant financial resources at hand. The research includes the analysis of the kinematical scheme of these clock mechanisms and a comparison of their stylistic, technical, and technological elements in order to establish their origin.Three churches are thus analyzed in more detail in the present book, but the Gothic elements of the churches in Mănăstireni and Văleni are also presented succinctly for those readers who do not possess the first two volumes of the series which detail the history of technology researches related to the above mentioned settlements.The present volume ends a series of researches in the region of Călata. The three volumes related to the history of technology can be considered as opening new lines of research in the field and for other geographical areas.

Kós Károly, a művészi kovácsoltvas formatervezője

Author(s): László Márton / Language(s): Hungarian

Engineering and creative work of the architect, writer, illustrator, and politician Károly Kós, is analyzed by extensive studies. Spirituality and creativity of Károly Kós, which in all their details are Transylvanians and they are also components of general culture. The architecture of Kós is an essential art, because all its elements, including ornamentation have a central tendency, harmony.In his ornamentation revives the forms of folk art, used in wood carvings, tiles, embroideries of the Szeklerland and Nagykalota regions according to the requirements of material usage.Humans have been using for even over five millennia. In the Middle Ages, the artistic wrought iron used in the structure of European cathedrals is found both in outdoor and indoor spaces. Wrought ironing as an architectural increase, like any other artistic product, reflects the spirituality artistic eras in which it was created.The beginnings of wrought iron use as an architectural ornament relates to the early year of the second millennium, with roots in ancient Greek and Roman era. During the Early Middle Ages, in the Byzantine Christian architecture, this legacy was transposed in a new style, called romantic style.In the twelfth and thirteenth centuries, due to some profound changes a new direction; a new style appeared in architecture, named Gothic. Paintings in the form of semicircular paintings are replaced by broken arch paintings, pointed arch. The changes in construction entail also changes in wrought iron design.In the twelfth century began a radical change in forging ironing due to the use of increasingly large scale water wheel. Heavy hammers of forging workshops are driven by the energy of water wheels.In the fifteenth century, in Italy appears a new artistic trend, the Renaissance. Ancient architectural traditions are found without being copied, and are developed with elements unused by the time. In Transylvania existed all of these conditions as a new style of architecture, to take root and spread rapidly. The art of wrought ironing keeps up with the new architectural style and in the same time creates a characteristically language of expression, in accordance with the architecture.The Renaissance style and the art of wrought ironing as a component of constitutive architecture of the centuries goes in parallel with the past, with a gothic style, but also with the next one, named the Baroque.From an architectural point of view, the era recorded by the history of art is Baroque.The rigorous regular forms, characteristic of Renaissance are followed by irregular style, recorded in the art history as the Baroque style.Nineteenth century is the century in which wrought ironing reached its peak. At the beginning, it could be seen different ways of searching in tradition, inheritance of this art. New styles have arise with an ephemerally lifetime such as empire, romanticism, historizmus, neo-rebirth, neo-baroque, with the respective adherents.As they appear, these styles disappear or remain only as the art of curiosities. Everything happens as a result of industrial development, industrialism, which determines new values and new standard requirements. Art of wrought ironing is to be dominated by commercial elements also creation of this domain is to be limited to single joints.In the second half, of the nineteenth century appears a new style of art, which strongly manifested in architecture and opposes all of the current artists. This trend is secession that is art nouveau. Renounces of the ancient forms are to be followed the model are to be found also in Japanese art and uses ornaments of folk art. Secession as a modern architectural style carries out this recent aesthetic by merging elements of folk art and with Japanese art symbolizes them especially in architecture. Also in the nineteenth century is developing more powerful, the necessity of creating an architectural line, which apart from the current fashion highlights the local national character. The challenges take concrete form in the twentieth century.Historical architectural styles were quickly separated from their place of birth, spreading throughout Europe. National style is the biggest challenge for architects. Since college years, Károly Kós seeks for his path to pursue a career and to be able to create a style of his own. In his architecture dominates large areas, simple, smooth without ornaments. The dimensional proportions of doors and windows, exterior or interior rails of the buildings grids are inseparable parts of the building and make a unique architectural ensemble, specific to the creator. Specific architectural language of the artist opened a way that can be recognized unmistakably without any doubts, over and over again.In Transylvania, the association that gathers craftsmen is guild. In the cities of Fãgãraº, Târgu Mureº, Odorheiu Secuiesc, Miercurea Ciuc, Turda and Aiud are powerfully organizations of guild (strong guild organizations). Here are also included blacksmiths, locksmiths, who deals with wrought iron. During Transylvanian principalities a large number of craftsmen, blacksmiths and locksmiths settled in Sibiu, Braºov, Mediaº, Cluj, Sebeº, Orãºtie. Through their work, these cities have become true centers of wrought iron art. In the nineteenth century it is almost inconceivable that a public building has not got iron elements. Palaces, churches, cathedrals, used increasingly the pieces of wrought iron as the parts of the buildings. Their variety is overwhelming, but even in the twentieth century, the searches, and the experiments in that domain characterize the entire activity.The foundation of our popular medieval art and the architecture, it is our national folk art, said Károly Kós. This actual statement led his whole young life. He declared, that folk art is an organic unity with its creator, the people. Only some people are able to create only spiritually united with the people, the artist can create his own artistic language. He advocates that, Transylvanian folk art is rooted in medieval art.Western European art is to be appeared in Transylvanian, after going through a specific change and became part of the Transylvanian culture and civilization. It is noticed that the carved stones metal objects in for general use have the ornamentation elements of folk art. Therefore, his work can be seen all of the popular ornamentation belongs. All of his works are rustic simplicity, but this simplicity doesn’t reduce its artistic value. Wrought ornate, hinges, handles and shields of them are unique creations, unique buildings to be found.In the field of architecture his activity and philosophy are linked to the spirituality and current architectural of the British architects like John Ruskin, William Morris and Finnish architect Akseli Gallen Kellela. He is an artist, a craftsman and in the same time competent of processing iron. In the design he takes into account these properties of iron.He starts working as an architect in Hungary. Here is he establishing the first project of public buildings, such as the Budapest Zoo Pavilions, the Church in Zebegény, the Parish and prayer house in Óbuda. The District of Veker and the School on Városmajor Street in Budapest, form an architectural unit. Each building is unique in the way in his unmistakable style. Each design is a complete wrought iron work, each element is perfectly lined with the work, which is actually a whole.A feature of his personality is the fact that the projects implemented by Kós are very detailed, with precise construction details. The rustic simplicity, decorative elements of folk art inspired ornamentation features are only summaries of his work. Besides the aspects inspired by folklore, his whole creation has a tendency to evoke a long-forgotten Middle Ages.Handles made of wrought iron are also decorated with motifs taken and processed their own style of the popular art of C?lata and Szeklerland area. Wrought wire handles, shields perfectly match door handles or colonnade of solid oak, with the actually building.In his wanderings in Transylvania he was able to study many relics of medieval construction. Gothic fittings loaded prevailing entire surface of the door has inspired artists in their own style training in the art of wrought iron. The hardware designed by the artist is much simpler, and, at the same time, maintaining the assurance characteristic of safeness and durability. From the house of Stana the hardware shutters are a typical example of rustic hardware.Rails of grids were designed to have dual functionality. On the one hand these provide space limitation function, and on the other hand it embroiders. These gratings are distinguished from any other style through their decorative elements. Birds, stars, flowers, are elements of popular ornamentation.Today, the wrought iron art can have a new revival. Materials are diverse, there are specializations at all levels of education, and there is a model to follow. Creativity of those who practice the wrought iron art today has to meet the customer’s requirements. And only then a productive way will be found, that can benefit everyone.

Kide, a kőből épült település

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

The present book is a result of intensive research conducted by the members of the section of technical sciences of the Transylvanian Museum Society. It is the 8th volume of a series, which focuses on the technical history of a small settlement, Chidea.With a history of more than 800 years, Chidea is one of the places where the number of inhabitants is continuously decreasing. The number of people living there used to be close to 800, nowadays there are not more than 140 inhabitants who have permanent residence in the village.Chidea is located in Cluj county, in the valley of the Chidea creek, one of the branches of the Borsa stream. The origin of the name of the village is unknown, it might come from one of the noble men once ruling in the Dabaca region. The first written document mentioning the name of the village, spelled Kyde dates back to 1332, it is a certificate that proves ownership.In the 13th century, the years of the tartar invasion, the fortress of Dabaca and the settlement of Chidea were partially destroyed and the population that couldn't take refuge, was killed.After the withdrawal of the tartars, life went on its course, and the village was trying to recover. To overcome the severe lack of population following the tartars' atrocities, a few dozens of families were brought to the village from the Eastern Region of Transylvania (Hungarian people called Székely) and they took over the defence of the fortress of Dabaca.In Chidea and in its region people have developed a specific craft of shaping the local volcanic (tuff) rock. This rock is relatively easy to work with, and it can be used as building material. Almost everything in Chidea - houses, side buildings (barns, store rooms, warehouses, stables) and even fences have been built of this carved stone.The diverse usage of the stone brought a good name to the local builders and masons who were esteemed even outside the borders of the settlement, throughout Transylvania.Education in the village dates back to the 18th century. Schools were run and supervised either by the state or by the church. Today, after more than 200 years of continuous activity, there isn't any school in the village, owing to the lack of children. The state owned school building was gradually deteriorating, which led to its demolition in the end.In terms of religion, the people from Chidea belong to five denominations. The majority of the population are Reformed, followed by Roman Catholics, Orthodox, Unitarians and Neo-protestants. There are very few parishioners, however each denomination has its own church, or a house of worship. The oldest is the Reformed church, first used by Catholics, then in the 16th century, the period of Reformation - by different protestant denominations. The church was built by the Roman Catholics, as it used to be the religion of the inhabitants in the period.The church was built after 1241, the first tartar invasion, when the previous building was destroyed. The first church of the village was supposedly built about a century before the tartars came.Throughout the years, the church was renovated, repaired and extended several times; the present steeple was raised in the 19th century. Due to some architectural components it is categorized as a medieval church, built in late Gothic style with some Romanesque elements. It is the oldest church in the area.The Orthodox, former Greek Catholic church is built of wood and could be seen as a gem of popular architecture. The church was initially built in a different location, and was pulled on sled to its present place. The church was built at the end of the 18th century.The Unitarian church was built in the 18th century, and the Roman Catholic in the 19th century.The four churches have two bells each, located in the steeples. The oldest of the eight bells is the one in the Reformed church, the so-called Polish bell. According to its inscription, this bell was cast in a town in Poland in 1560 and it was brought (for reasons unknown) to Chidea by Polish refugees, probably after Poland was divided in the 18th and 19th centuries.In the steeple of the Reformed church one can also see a clock, built in 1896 by Szabó József, the mechanic of the Baron Bánffy Ernő from Borsa. The clocks in Borsa and Cristorel - in the valley of Borsa - are also his works. Each clock was engraved with his name and the year of manufacturing. Out of these three, only the one in Chidea is still functional.The mechanic, who made these clocks used innovational techniques in the procedure. Thus he used a pinwheel escapement instead of the Clements regulator, which has a series of advantages in the assembly process. Another peculiarity of the clock is that it uses a snail wheel in the kinematic chain of the clock in order to reduce the number of the cylindrical gearwheels.Another name, the name of the stone carving master Sipos Dávid should also be mentioned. He worked here in Chidea, thus contributing to the fame of the village.He was a true artist with a peculiar choice of ornamental elements, unique in the art of stone carving in Transylvania. Even if his works are singular, they belong to the late Transylvanian Renaissance.His works are found in two of the churches in Chidea, namely a stone carved pulpit in the Roman Catholic church, and a liturgical table in the Orthodox church.There are also stone pulpits presumably from his workshop or disciples in the Unitarian and Reformed churches. This master has carved more than 20 pulpits throughout Transylvania, and also noble coats of arms, emblems, tombstones, door and window arch-ornaments in Cluj, Gherla, etc.In the present book one can read a description of the mill that probably belonged to the writer Nyírő József, a Catholic priest, who - assigned to Chidea - suspended his ministry and worked as the miller of the community for a short while. In the same chapter, one can also read about the manual grounding machines used by the locals for grinding the grains for their animals. It is an important detail that these grinders are handcrafted here in the village, from a rougher type of the same tuff stone, found also nearby.According to its subject the present book could be classified as a work of technical history. In result of the research conducted in the field, the exploration of archive material, and the study of the specific literature we have a more complex image of the village than historians, archaeologists, art historians have formed so far. One could get a full picture of the culture and civilisation of the region only by analysing its diverse complexity.

Muzika sveta kao novi oblik tradicije

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

World music is a hybrid musical form which is based on traditional elements. Being a product of growing interaction between people, intensive cross-cultural flows and technological achievements, world music became a complex cultural phenomenon. Some authors think that this concept presents a new kind of imperialism over, so-called, Third World countries, while the others see it as a possibility for promoting I#$ @#her", I-Western" music. Popularity of this musical form is evident in numerous specialized festivals, magazines, new performers, but also in the fact that world music became a relevant topic of academic researches and curriculums. In Serbia, world music presents a phenomenon in the making, the scene is not developed enough (the lack of media coverage, publishing and so forth). Despite all that, there is an evident effort that this type of musical expression comes to life locally. World Music Association of Serbia is one such example. The members of this association launched series of activities that seek for better visibility of this phenomenon. They started a magazine Etnoumlje, established an independent recording company WMAS Records and SWM internet radio, a project of registration of Serbian world music groups and musicians. The first festival, Etnomus, was active from 1997-2006. In August 2012, the new festival in Takovo – Serbia World Music Festival was started. This study presents an anthropological analysis of world music phenomenon. The attention is focused on interpreting the term "world music", in Western and local context, and then it reviews the perceptions and usages of this concept by musicians and audiences. Theorethical frame of this work consists of perspectives of two ethnomusicologists – Lauren Aubert and John Blacking, who treat music as a cultural phenomenon. The analysis is divided into three parts: world music in Serbia, world music in the world, and comparison of local example and global flows. Material that is used in the first part of the analysis consists of interviews with informants who deal with ethno music, while the other part is based on relevant literature and internet sources.

Romski hip hop u Srbiji

Author(s): Ana Banić Grubišić / Language(s): Serbian

In this study the author presents the phenomenon of "Romani Hip Hop" in Serbia - its origins and circumstances under which it has developed, and analyzes if this "cultural practice" initiates change to the bad situation of the Roma youth in our society. Since Hip hop culture (music, dancing, graffiti writing) was initially a cultural expression of "black", discriminated and stigmatized America, it has been often interpreted as a specific form of political expression, a strong echo of the youth social rebellion and global socio-political injustice. Therefore, "symbolic potential" of Hip hop has been appropriated by many ethnic minorities and immigrant groups around the world – the art production of racialized and oppressed ethnic/racial minorities (eg Afro-American music, AngloPakistani cinema or postcolonial literature) is seen as part of a broader process of their identity claims. The main feature of the Roma hip hop in Serbia is that it is created "from above", by non-governmental organizations which seek to strengthen creative potentials of young Roma in order to help them integrate into broader society.This musical form has also been developed in the Republic of Macedonia (Shutka), Hungary, the Czech Republic where, in contrast to Serbia, it is a self-sufficient musical and cultural expression that comes "from below", from "the streets" and is not institutionally supported. This study is a result of field research carried out in three cities (Belgrade, Novi Sad and Subotica), based on interviews with members of the Roma Hip Hop, both those self-organized and those organized by non-governmental organizations. The research also encompasses attitudes of non-Roma who are members of the Serbian Hip hop scene, collected by interviews and textual analysis of Internet portals and discussion forums dedicated to Hip hop culture in Serbia. In this study the author tries to answer following questions: how does inclusion of Roma youth in hip hop practice influence framing of their group identity in an environment where they are often exposed to discrimination and stereotyping? Has Hip hop culture become an important part of their lives? Can Roma hip hop in Serbia act as subcultural inclusive strategy or does it remain only a part of the wider Serbian Hip hop subculture? Is there a potential for Roma Hip hop to become scene of its own, or its future will stay dependent on NGO’s support.

A mű átváltozásai

Author(s): Mihály Szegedy-Maszák / Language(s): Hungarian

The sixth book of his life work series spring from an assumption that an artwork hardly examinable in itself, unseparatable from it's mode of existance, it's always gets into new contexts and changes because of this.

Galeria Wielka 19

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

Galeria Wielka 19 działała w Poznaniu w latach 1971–1990, była wtedy jednym z najważniejszych miejsc prezentacji sztuki w Polsce. W galerii wystawiane były prace artystów młodego pokolenia lat 80., między innymi ważnych grup artystycznych, takich jak: Koło Klipsa, Neue Bieriemiennost, Gruppa. Justyna Kowalska w swojej książce prezentuje historię galerii, która dotychczas nie doczekała się należytego opracowania, opierając się na materiałach źródłowych – historii mówionej i oryginalnych dokumentach. W „Galerii Wielka 19” znajdziemy więc wspomnienia i wypowiedzi takich artystów jak: Mirosław Bałka, Wojciech Bąkowski, Leszek Knaflewski, Piotr C. Kowalski, Jarosław Kozłowski, Mariusz Kruk, Maciej Kurak, Piotr Kurka, Danuta Mączak, Jarosław Modzelewski, Tasos Pavlopoulos, Max Skorwider, Ryszard Woźniak oraz założycieli galerii: Joanny i Stefana Ficnerów i Mariusza Tulińskiego. Całość zilustrowana została ponad 150 archiwalnych fotografii. „Wielka 19 to był nie tylko adres. To był inkubator talentów wnoszących w obszar polskiej sztuki lat 80. odświeżające wartości wizualne i pojęciowe. To tam zaczęto praktykować poetyckie narracje, które wykraczały poza płaszczyznę obrazu i zagarniały trzeci, a nawet czwarty wymiar, aby dać ujście rozhulanej wyobraźni. To tam ustanawiano nowy etos pracy w grupie, gdzie wyraz artystyczny wyprzedza nazwisko twórcy. I to tam stworzono teren przyjaznej konfrontacji dla twórców niemieszczących się ani pod parasolem władzy państwowej, ani w nawie kościelnej. Dobrze więc, że Justyna Kowalska napisała książkę, która utrwali blaknące już dzisiaj wspomnienia wydarzeń sprzed trzydziestu lat”. Anda Rottenberg

SOCJOLOGIA MUZYKI

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

Socjologia muzyki to monografia naukowa o muzycznym wymiarze życia społecznego ludzi oraz o refleksji socjologicznej na jego temat. Pierwsza część pracy poświęcona została teoretyczno-metodologicznym zagadnieniom związanym z muzyką i społeczeństwem. Jest to część, w której na nowo ukonstytuowane zostały fundamenty socjologii muzyki, pojmowanej jako odrębna subdyscyplina wiedzy naukowej. Druga część książki odnosi się do takich zagadnień, jak muzyka i edukacja, muzyka i polityka, muzyka i religia, czy też muzyka i nowe technologie. Socjologia muzyki to praca, która ma na celu wskrzeszenie dyskursu naukowego na temat ludzkich praktyk nakierowanych na muzykę oraz ożywienie tradycji badań nad muzyką i społeczeństwem. Z pewnością książka ta zainteresuje socjologów, kulturoznawców, muzykologów oraz wszystkich tych, dla których sztuka dźwięków jest ważnym elementem codzienności.

A nap árnyékában

Author(s): Zádor Tordai / Language(s): Hungarian

After the communist system has collapsed, the socio-political and economical situation has changed in Central and Eastern Europe. In his essays Zádor Tordai is focusing on the analyses of the socio-political results of the system change in Central and Eastern Europe and its interpretation – from the view of a philosopher.

Edukacja, kultura, sztuka – spoistość a integracja

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

Education, culture and art are subject to transformations, therefore they require reinterpretation being orientated not so much on their development but rather on social utility, readiness to manifest in other areas of human activity. They form a transparent network of relationships correlations that exemplifies the principle of reciprocity, an extremely important principle in education, which is embodied in the sphere of mutual exchange of services. Education, culture and art have always been mutually supportive, and determined each other’s development. All of these three areas accompany man throughout his life, however education, owing to the aspect of its institutionalisation and obligation, has become part and parcel of everyday life not only during childhood and adolescence, since the need for self development and education is permanent. Art and culture, even though they are constantly present in the social space, too often they remain outside the sphere of the awareness of a human, who does not notice them, underestimates them or even marginalises. This attitude is a result of lack or insufficiency of proper education. The observed absence or insufficiency of education in the field of culture and art poses a threat to the quality of life – on the one hand, whereas on the other hand it is a field that constitutes a space open for development, for focusing the attention of educational and social environments of parents, teachers, caregivers, local authorities and politicians on the essence of a systematic, deliberate inclusion of culture and art into modern education and the need for it. What the authors of the articles point out in this volume is that modern times bring about many dangers, traumatic experiences, irregularities that create barriers to a satisfying, full development.Let us, therefore, avail ourselves of the cultural heritage, of various fields of art, whichfor centuries have been waiting in readiness for social action. This need was postulated by Plato, Aristotle, Molière, Shakespeare, Durkheim, Comte, Znaniecki, Bernstein, Parsons, Radlińska, Beuys or Hanuszkiewicz. Maybe our contemporary activity in this field will make widespread what has been realised only to a limited extent. May these precious ingredients, i.e. culture and art, enrich education.Modern times, marked by, among others, cultural diversity, aging, social maladjustment, lackof social dialogue, the dominance of consumption oriented culture, lack of interest in culturalheritage and various fields of art, or inability to enjoy them, should be subjected to urgent educational activities carried out by both school and other educational environments, being aware of the role of education, culture and art in everyday life. In this context, art cannot be perceived merely as an artistic experience or feeling, nowadays – more than ever – it should become social practice, therefore it is analysed more and more frequently in sociological convention, and seen as one of the elements of the social system. History confirms the cohesiveness and integration of education, culture and art.The authors of the texts comprised in this volume express the need for demonstrating notso much an individual space of education, culture and art, but, above all, a common space ofthese activities, their reciprocity in the perspective of socio-cultural and civilisation transformations. The presented here considerations expose some chosen aspects of social life in these areas, showing the need for their mutual permeation, support and complementation, and the feasibility of that. The reader will not always find, in the presented texts, in-depth analyses within the particular thematic areas, since the intention of the authors was, in fact, to draw attention to certain contexts, sections of social reality that should benefit from the integration of education, culture and art.The paper consists of two parts, each of which presents specific thematic issues. The first partof the study, entitled: Deliberations on the experience of the present and the need for transformationsin the educational system in view of the requirements imposed by modern times, containsseven texts focused on the issues of education and the institution of school that is aware of thenecessity to meet the requirements of the present. The second part of the volume – under thetitle: Art and culture as a means of enhancing educational processes in the individual and social space, also comprises seven articles, which, this time, emphasise the contribution of culture / art understood not only as a specific work, but also as a certain attitude / readiness / willingness to act in the process of daily activities. The presented texts, being the result of research activities, theoretical analyses and scientific interests of individual authors, are characterized by significant diversity.

Dizajn w kontekście estetyki. Jego początki, przeobrażenia i konotacje

Author(s): Alicja Głutkowska-Polniak / Language(s): Polish

The term “design”, commonly used today, however ambiguous and multidimensional, cannot be denied cognitive usefulness. Generally understood, design refersto contemporaneity, revealing the dependencies between production, consumption and culture. As a distinguished type of activities and practices, realizing the values of social aesthetic awareness, it is vibrant in today’s world.This book aims at showing the category of design in a broad cultural context, with a focus on the evolution of this notion in the 20th century. An analysis of this phenomenon, rich in multifarious connotations, begins in Europe at the approach of the 20th century, when this discipline, in a way, emerged from the sphere of artistic activity (Bauhaus, De Stijl), and ends in contemporary times. The road leads through issues strictly connected with the development of technology and aesthetics, but exclusively within the aspect of human life and functioning. In fact, design has always been connected with man as a subject (author and recipient) and anobject that the latter has in use. As such, it carries in itself a great wealth of diverse ideologies and socio-cultural values, which it reflects in connection with human life. In this sense, design is also a reflection of a way of this life, particularly in the times of aesthetization of reality.Design, as a close connection between art, technology and life eludes all definitions; it cannot be be unambiguously boiled down to any specific esthetic theories either. Referring to Peter Bürger, it can be assumed that design is art which became so immersed in life practice, that, having lost distance to the latter, it ceased to function stricte as art and became a new area of quest and experiments. Therefore, aesthetics implicite, as seen by Władysław Tatarkiewicz, tranferred into the sphere of design: drawing from the designers’ practices, contained in items/objects/utilitarian products, in critical thought and tastes and fads of a given period, seems to be the most optimal form of an aesthetic analysis of this phenomenon. Such an analysis is a priority of this work, whereas the chronological aspect helps connect design to the (aesthetic) functioning of man starting from from modernist beginnings of the 20th century throughout postwar changes and postmodernist aesthetic relaxing.

The Gospel of Work and Wealth in the Puritan Ethic. From John Calvin to Benjamin Franklin

Author(s): Bożenna Chylińska / Language(s): English

The book provides a broad cultural scene as well as moral and ethical dimensions of the Christian perception of work and wealth from the beginning of the European Reformation to the American Enlightenment. The concept of work and wealth is identified through, and measured by the Protestant, and specifically the Puritan work ethic. Contemporary consciousness is here reconstructed through e.g. letters, diaries, journals, poems, prayers, alongside normative writings, which document the attitudes to work and wealth acquisitionThe book provides a broad cultural scene as well as moral and ethical dimensions of the Christian perception of work and wealth from the beginning of the European Reformation to the American Enlightenment. The concept of work and wealth is identified through, and measured by the Protestant, and specifically the Puritan work ethic. Contemporary consciousness is here reconstructed through e.g. letters, diaries, journals, poems, prayers, alongside normative writings, which document the attitudes to work and wealth acquisition

Styl późny w muzyce, literaturze i kulturze. T. 3

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

Two further volumes of The late style in music, literature and culture, i.e. volumes three and four, consist of lectures which were delivered at a conference which was organised in 2014 by the Academy of Music in Katowice and by the University of Silesia. This was a third meeting of the series “the late style”, which was attended by musicologists, theoreticians of music, specialists in the field of history of art, cultural studies and philosophers. The set of problems discussed in both of the publications is proof that the phenomena of “lateness” and “decadence” continues to be a source of controversy and that they elude attempts at unambiguous classification and description.The third volume consists of articles associated with the problems of the late style in European culture starting from the 18th century. The problems which were discussed, ones that are examined by the authors from the perspective of the late style and “decadence”, include the following: Polish Enlightenment artes poeticae of Golański, Dmochowski and Krasicki, the empire style in the context of the entire period and Hegel’s thinking, Brahms’ Klavierstücke op. 118 as a cycle, the music of the Burgundian school and the works of the French composers of the end of the 19th century, Gabriel Fauré’s Piano Trio in D-minor op. 120 against the background of his chamber music works, Nowowiejski’s 4th Symphony op. 58 and a solo organ musical poem, In Paradisum op. 61, the individualism of Rachmaninov’s style, Mahler’s works, “decadence” in the novels of Wilde, Joyce and O’Brien, Lawrence’s poetic works in the perspective of the aesthetics of existence and Said’s book On Late Style, the rhetoric of dynamic “staticness” as a new philosophical and cultural paradigm.

Glamour, kobiecość, widowisko. Aktorka jako obiekt pożądania

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

The monograph concerns two fields of studies of a theatre: woman’s studies and popular genres’ studies. The author analyses a double relation between the femininity and the performance using the category of “glamour”, understood as a visual code rising in the city milieu. This code generates and controls the spectators’ desires. The author examines not only the historical genres (in which the actress was glamorized and as result the new model of femininity “glamour” was shaped) but also the attempts of impeachment of this model made in the theatre from the second half of the 20th century.

Спектакли XX века музика и моћ

Author(s): Miroslava Lukić-Krstanović / Language(s): Serbian

Między dźwiękami Skalnego Podhala. Współczesna góralszczyzna

Author(s): Maria Małanicz-Przybylska / Language(s): Polish

This book is the outcome of the ethnographic field research conducted by the author in Skalne Podhale region in the years of 2011–2015. The analysis of the material collected during the research – the interlocutors’ statements and situations and events observed, prompted the author to make an attempt to answer the questions about the meaning of musical tradition for the contemporary highlanders, its role in their everyday life as well as its impact on the process of self-determination and developing the local identity.

Ryszard Gabryś. Utwory chóralne

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

The core of Ryszard Gabryś. Choral Pieces is a selection of twelve music scores, including the thirteenth one – a musical "Motto". The author is Ryszard Gabryś – a composer, music theorist, educator, cultural activist. Never before published compositions, prepared on the basis of the artist's manuscripts, were created in the period from 1969 to 2020. The innovative element of the publication is information from the artist on the characteristics of the works and interpretative tips for the performers.

Adam Didur. Droga artystyczna przez Metropolitan Opera do Bytomia. Materiały z Interdyscyplinarnej Konferencji Naukowej zorganizowanej w dniach 11–12 maja 2017 roku na Uniwersytecie Śląskim w Katowicach

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

The book is a new monographic study of Adam Didur’s (24.12.1873 – 7.01.1946) artistic, educational and organizational legacy – an opera singer who made a name for himself in the Polish musical culture at the end of the 19th and the first half of the 20th century and who succesfully performed on all major opera stages in Poland and all over the world, including The Metropolitan Opera and Teatro alla Scala. The monograph presents the current state of research concerning Didur and his disciples on the basic of studies, theatre criticism and archival documents made available, often for the first time, by Polish and foreign archives and institutions. A lot of space has been given to the texts that bring the latests results of research on the creation by Didur and the artists expatriated from Lviv of an opera theatre in Upper Silesia after World War II.