Sprawozdanie z konferencji „Czas Zatrzymany... Fotografie w spuściznach uczonych i twórców”, Archiwum Nauki PAN i PAU, Kraków, 19-20. czerwca 2013 r.
Report from the photographic conference in Cracow, Poland.
More...We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Report from the photographic conference in Cracow, Poland.
More...
Belgrade had argued that Pristina would not protect Serbian religious and cultural sites.
More...
Latest spectacular find at this crossroads of the ancient world.By TOL
More...
Two young digital designers and an architect are spurring new ideas for the building.
More...
Think the Kadyrov scandal is the only strange bridge story out there? Think again.
More...
Known for harming himself as a form of protest, Pavlensky was fined for damaging ‘cultural heritage’ – the doors to Moscow’s KGB/FSB headquarters.
More...
Cable giant makes another successful foray into local programming, using top local talent.
More...
Mistaken for Metallica, the band plays along and signs autographs.
More...
The article refers to selected compositions from the abundant work of Polish composers inspired by John Paul II and his teachings. This work constitutes an exceptional and very frequent phenomenon in Polish music (and not only sticte religious music) which continued since the beginning of the pontificate. The inspiration in this type of compositions is an interesting issue. It usually is (at least) twofold: “external” (referring to the person of the pope) and “internal” (referring to a given composer’s style/interest) which is manifested, among others, in the diversity of genres and forms of these compositions, their closer or further reference to music traditionally perceived as religious, their approach towards the “papal” subject, etc. That is why the problem of inspiration is the centre of the article’s considerations. The theoretical reference point is Władysław Stróżewski’s concept of inspiration as “the dialectics of interiority and exteriority”.
More...
The second part of the study of the painting Maria in sole by Geertgen tot Sint Jans from the Museum Boijmans van Beuningen in Rotterdam is divided into two sections. Both are accompanied by theological and iconographic reflections as well. The Christ Child playing two handbells is depicted at the moment of generating the very first movement, creative “energy”, first sound that is going to be taken up by one of the angel musicians holding the same idiophones. Christ, incarnated God is perceived as the Musicus initiating the heavenly harmony represented by the three angelic rings. Profanum aspects in that Marian work of art are reflected in the outermost ring where angels play various musical instruments which I interpret as an incomplete catalogue of the 15th century instruments; the main reference work is Musica getutscht und aussgezoge written in 1511 by Sebastian Virdung. Four thematic sections of the study are as follows: Et signum magnum paruit in caelo: mulier amicta sole Rosarium Virginis Mariae Motus autem non est ens completum, sed est via in ens... Musica coelestis vel mundana
More...
The aim of the paper is to present a biography of relatively unknown composer – JohannValentin Meder. The title of this article indicates the composer’s penchant for changingplaces of living, which makes him unique among other baroque composers. He spentmost of his life in three European cities: Reval (currently Tallinn), Gdańsk, and Riga. Born in Wasungen (Germany), he visited: Leipzig, Jena, Gotha, Copenhagen, Rotenburg, Kassel,Brema, Hamburg, Lübeck, Mitau, Kaliningrad (Königsberg), and Braunsberg. The lack ofany sources in Polish deems this project worthy of scholarly investigation.
More...
Viştea , a small village near Cluj, was the property of the bishop of Transylvania. The frescoes of the medieval church were discovered in 1912, but later covered with plaster. In 2008 only two scenes were renovated. The first is a Crucifixion painted in Italo-Byzantine style. Christ is sided by Virgin Mary and Apostle John, and on the southern wall of the nave one can see Longinus and a second person dressed sumptuously and in modern style, supposedly the do - nor. The fresco seems to date from after 1320, when the 27 year old Andreas Széchy was elected as bishop. The second fresco, painted on the southern wall of the nave, exemplifies the influence of the Italian Trecento. It depicts standing saints (St. James the Greater, St. Nicholas, a holy king) and the Madonna Hodegetria while blessing a clerical donor, as well as a ship navigated supposedly by the same donor and by Our Lady of the Seas. The image combines iconographic elements from more sources (Navicella, Ecclesia Triumphans), creating an original composition in order to ask the protection for the donor’s longer trip to Heaven. He seems to be Imre Czudar, bishop of Transylvania between 1386 and 1389.
More...
This paper examines the approaches to group lessons that music schools in differentcountries employ while teaching the violin to pre-school children. The advantages of combinations of group and individual forms of training are demonstrated in social, psychological and pedagogical contexts.
More...
The Israeli theatre scholar Shimon Levy describes the works of Samuel Beckett using the category of “offstage,” i.e. what is “backstage” or “behind the scenes.” This notion is also suitable to describe the plot of An-sky’s play The Dybbuk. The plot, which follows the wanderings of the soul of a prematurely deceased lover, is based on a continuous interplay between the explicit and the implicit, the revealed and the concealed, the present and the absent. Applying the category of “offstage” as an analytical tool allows for speaking about the supernatural forces which are depicted in the play, while replacing religious nomenclature with a glossary of terms from the field of theatre.
More...
This article discusses the Croatian film "Gold, Frankincense and Myrrh", directed by Ante Babaja (1971). The film is a response to the unrealised vision of a communist utopia. It is set on a Dalmatian island during the era of real socialism. According to communist propaganda, real socialism is the fulfilled utopia, meaning the end of history. In Babaja’s interpretation, the end of history does not involve the victory of communism, but rather its defeat and the return of Catholic tradition as the only unquestionable value making sluggish, socialist everyday life possible to accept, since it gives sense and order to an axiologically degraded and alienated world. In this insular world, it is the traditional past and not the communist future which becomes an eternal present. Remaining outside of time among the relics of tradition is the only option in a situation where communist progress fails to produce the desired results. Tradition does not promise a new wonderful world and does not fix the current world, but it ensures balance between its contradictions. This situation leads to bitterness, since accepting it requires the acceptance of its dark side. The ironic attitude towards the Catholic tradition which is predominant in the first half of the film, turns into bitter affirmation of tradition in the second.
More...
Rancièreova koncepcija o »režimima umjetnosti« prvi put se pojavila u knjizi The Politics of Aesthetics (2004, francusko izdanje 2000). Taj pojam sadržava dobar dio bitne koncepcijske i povijesne analize započete nekoliko godina ranije, napose u knjizi La parole muette (1998). U toj knjizi, Rancière piše o »sustavima prikazivanja« i »poetičkim sustavima«. Nakon toga, tu je koncepciju razradio i upotpunio u mnogim estetičkim tekstovima.
More...