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Organizers: Institute of History, Charles University, Jagiellonian UniversityThe University of Krakow and the Foundation Brandenburgische Gedenkstätten Place and date: New museum, campus of the former concentration camp Sachsenhausen, 22 November 2009 - 31 May 2010
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Christianity is the religion of the word and image. Both the word and image play an important role in the process of passing on the faith. The attitude of early Christianity to art was determined by two important factors. Firstly, in Christian communities which were formed by converted Jews, the Old Testament prohibition against images and worshipping them was strongly em- phasized; secondly they feared idolatry. The first apologists of the 2nd century (Aristides, Tatian the Assyrian, Justin Martyr, Tertullian and Origen) explicitly scorned production of any images. In the 4th century, when Christianity was growing in signi cance and building Christian churches was permitted, then Christian writers such as: Saint Basil the Great, Gregory of Nyssa, Hypatius of Ephesus and Paulinus of Nola started to express their opinions on these issues in a less adamant way than it happened in the rst three centuries. In the 6th and 7th century, thanks to Saint Gregory the Great (Pope Gregory I) and John of Damascus, the Church’s attitude to art crystallized and eventually art was given due respect. is several century long discussion on the role of “representational art” in Christianity culminated during the second Council of Nicaea.
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The twentieth century has developed three models for describing contemporary art. Three narratives dominated in the 1930’s and the 1940’s: Paris-French, German-Expressionist and avant-garde-international. In the 1950’s and the 1960’s, avant-garde-centrist model included two basic phases or formations in the art of the twentieth century. Historical avantgarde period covered the years 1905–1930. Neo-avant-garde lasted from 1955 to 1970. To a pair of avant-garde – neo avant-garde, some authors add yet proto-avant-garde they considered as the nineteenth century artistic trends leading to the birth of the historical avant-garde - romanticism, realism of Courbet, impressionism, post-impressionism and on the other hand post-avant-garde, or art after the fall of the avant-garde. In the 1980’s and the 1990’s, avant-garde model was superseded by a model operating the opposition modernism - postmodernism. According to that model, the twentieth century art include two cultural and artistic formations: modernist and postmodernist formations. The first experienced its climax around 1910, when abstract art was born; the second in the 1980’s. Modernism and postmodernism can be considered as two codes that define literary (artistic) codes, but there is a significant difference between them. The modernist code reveals modernist essentialist attitude, the trend of looking for essence, individuality, specificity of art, trying to melt pure art, while postmodernist code refers to the avant-garde and the expanded field of art, focusing on the relationship of art and life.
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Radio above all is a carrier of the beautiful word, without which any cognition or knowledge would be full. The crowning of the radio narration and the summit its creativity is radio reportage. It is a product of culture full of subtlety and emotions. It always touches on the truth and history of specific people, invokes the depths of humanity. By observing the world of contemporary culture and media, it is possible to reach conclusion that they are dominated by image and audiovisuality – the word is often marginalized. What place in this context is taken by radio reportage? What is its potential? Can it find use in modern education, especially in media literacy?
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According to Chantal Mouffe’s conception of agonistic pluralism I will analyse the role which one of Jenny Holzer artwork plays in hegemonic struggle. Lustmord. is the work produced in 1993 as an example of undermining the memory discourse about military action during Bosnian War. The artist places violence against women into the centre of war strategy thereby giving voice to the victims rather than to the winner. I hope to find out if Lustmord creates an agonistic dimension of public space.
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The aim of the article is to present a few criticisms of the foundations of Leon Chwistek’s philosophy. Completeness postulate, imposed on all correct philosophical systems by Chwistek, and which is supposed to be in conflict with conventionalism, is criticised. Correctness of some Chwistek’s axioms is called into question. Axioms for six intermediate realities are given. I argue in favour of model theory interpretation of manifold reality.
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A film about the love affair between the canonized last czar and a ballerina is finally bound for cinemas after months of debate.
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Kirill Serebrennikov has seen his funding cut and a controversial ballet axed, and could soon be charged with swindling the state out of millions.
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In this paper, the author presents a philosophical analysis of the famous manga series, Barefoot Gen (Hadashi no Gen) by Keiji Nakazawa, which is the author’s quasi‑fictional memoir of his childhood as an atom bomb survivor in Hiroshima, Japan. Against the backdrop of larger issues of war and peace, Gen’s family struggles with his father’s ideological rebellion against the nation’s militaristic rule, leading to the family’s persecution. The story then chronicles the cataclysmic effects of the bomb, and the fates of Gen and other survivors as they live through the aftermath of the detonation and the hardships of the American occupation. The author's framework for critique follows Paul Ricoeur’s hermeneutical phenomenology, which applies the descriptive method of phenomenology to cultural texts.
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In this article the author applies Tadeusz Boy-Żeleński’s claim that Witkacy’s paintings are “theatre frozen on canvas” by examining the many characters who coexist in both his paintings and dramas. This is evident not only in the content of his later drawings and paintings when he was most productive with his dramatic literary output, but also in the subject matter of earlier art pieces before he even began the fruitful period of his dramatic works. Moreover, some of the images in his artwork reflect his own real life experiences. The author borrowing a phrase from Daniel Gerould claims that Witkacy creates a “unified world of imagination” in which various characters appear in multiple literary and art works.
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