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Review of: JENÍK, Lukáš: Odpoveď Wernerovi H. Trnava : Dobrá kniha, 2016. 56 s. ISBN 978–80–8191–018–0
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The article explores contemporary cultural processes in Ukraine. It analyzes particularities of functioning and work of state and commercial organizations, non-profit NGOs in the sphere of culture and arts, the thesis also exposes the problem of the said NGO’s structurization, improvement of economic and legal support of their work as well as perspectives of their development.
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The parish in Abramowice was mentioned for the first time in 1398, when the heir of the village, Sieciech, gave about 50 ha of unsettled land to the newly built church dedicated to The Holy Trinity, the Blessed Virgin Mary and St. James. In the Middle Ages, the parish also included neighbouring villages: Dominów, Skrzynice, Śmiłów (present Ćmiłów) and Wilczopole. In addition, the town of Głusk, after its foundation in 1687, became a part of the parish of Abramowice. In the 19th century, the following villages, from the Lublin parish, were incorporated into the Abramowice parish: Dziesiąta, Żabia Wola as well as settlements created about half of the 19th century: Kalinówka, Kliny and Kaleń. In the 20th century new parishes were established in some of these places. At present the Abramovice parish, apart from the districts of Lublin-Abramowice and Głusk, includes: Dominów and Wólka Abramowicka, located in the district of Głusk.Analysing the canonical visitations of the 18th century, it was possible to determine that the parish church in Abramowice dedicated to St. James the Greater Apostle had been built in 1674, and consecrated by the Bishop of Krakow Mikołaj Oborski the following year. It is also mentioned that originally the church was dedicated only to St. James the Great, but later other dedications were added: the Transfiguration, the Assumption and St. Adalbert. The church which have survived until today was built between 1786 and 1790 on the initiative of Rev. Wincenty Jezierski. It was consecrated in 1796 by the bishop of Chełm and Lublin Wojciech Skarszewski. The church was expanded in 1906 in accordance with the design of the famous Warsaw architect Stefan Szyller. Among other buildings which have survived are the neo-gothic bell tower and morgue, dating back to the end of the 19th century, and the presbytery of the years 1727-1728, expanded at the end of the 18th century, with a monumental six-column portico.
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Shaped in the fifteenth century religious images in Baroque took commemorative figure corresponding to the specifics of Catholic funeral rites. It became a symbol of mourning leaflets imparting basic knowledge of deceased persons and inspiring prayers and memorial services. Mourners in the sense of religious obligation hid the souvenirs in the prayer books and drawers, pinned to the memory array or presented in other places. This process strengthened the experience of world wars that shaped the need to honor the soldiers' images. Secular heroes thus replaced Christ and the saints. Culture memory strengthened and included on the pictures secular content. Disappears need to care for the salvation of the living dead for mentioning them as relevant to our identity as people. This process intensifies the penetration of virtual reality memorabilia and development of the funeral culture.
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Museums in Poland are developing dynamically and undergoing intensive transformations. More and more attention is paid to the issues of management, including the ones connected with a missionary role of museums. The concept of a mission is commonly identified with the purposes of museums and the main subject of their activity. The aim of this article is to analyze a mission as an element of strategic management for museums, as well as to identify the scale of the phenomenon of a mission formulated by Polish museums (how many of them have a formulated mission?), and to analyze the content of a mission, mainly with reference to the objectives included in the law on museums. The article discusses the results of the existing data analysis (the websites review and the Public Information Bulletin of museums which are in the database of the National Institute of Museums and Public Collections).
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A tattoo is the oldest form of visual individualization, occurring since the dawn of history. Initially, tattoos had protective and ritualistic functions. They differed in respect of social status and religious affi liation. People believed in their curative and magical power. There have been different tattoo techniques depending on the geographic location, material and tools, time, civilization development and tradition. Today’s tattoos are mainly used to decorate the body, but still some people have tattoos done as they are willing to emphasize their belonging to the social group, to commemorate important life events or they are guided by other personal motivations.
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In 2015, in Chełm (the town in the south-eastern part of Poland), in the Polish-Ukrainian borderland, we celebrated the 250th anniversary of the coronation of the miraculous image of Our Lady of Chełm. On this occasion we also learnt about the history of this image. Its copy, made in 1939, is now in the Roman Catholic parish church in Chełm - in the Basilica of the Nativity of the Blessed Virgin Mary. The cult of our Lady of Chełm dates back to the early 11th century and the information about miraculous power of the image appeared in the 13th century. The first book to describe the history of the cult of this image and miracles was the one written by Jakub Szusza (Phoenix ...), published in 1646 in Zamość. The author includes information about 693 miracles through the intercession of Our Lady of Chełm. Most of them concern human health. A significant number of them are also connected with miraculous healing of animals. Another group refers to miraculous events on the battlefield. In addition, Our Lady of Chełm was considered to have the power to stop the plague and heal the sick, to fight fire, find stolen things and make people convert (return) to Catholicism. Chełm was the destination for pilgrims from the region of Chełm and larger Polish cities such as Sambor, Warsaw, Krakow, Vilnius, Pińsk. In the history of the image of Our Lady of Chełm and its worship by the Orthodox faithful, the Greek Catholics and the Roman Catholics, the image of the Virgin Mary travelled through the cities, towns, battlefields and stopped where the Polish kings were stationed. There image of Our Lady of Chełm had no permanent place in the selected church. Throughout the centuries, the image travelled through 32 towns and cities of Poland, returning three times to Chełm, where it is still worshiped by the believers.
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This study explores the representations of Ottoman interpreters in a number of selected paintings and engravings by western artists. The purpose of the paper is to describe and analyse the position of the interpreter as a political and diplomatic figure within the pictorial composition, basing itself in historical facts about Ottoman interpreters. I will start the paper by a brief discussion on the history of the interpreting profession in the Ottoman Empire and then move on to exploring the paintings where I will touch upon issues such as the traditional costumes, postures and physical positions of interpreters. I will question whether these elements were uniform in different representations by different artists or whether they displayed certain variances.
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Since the late 19th century, much has been written about Chinese art in western languages, but there has been no comprehensive history of it to date. This paper focuses on the historiography of Chinese art in Hungary. The aims of the study are as follows: to establish a periodisation, to characterise each period by presenting the main works and their authors in order to reconstruct the course of changes in collecting and the taste for Chinese art in Hungary in the 20th century, and finally to investigate the role of the Oriental public collection (Ferenc Hopp Museum of Eastern Asiatic Arts).
More...The Case of Father and I (2012)
Although trauma and memory have been a focus of cultural studies for more than twenty years now, few scholarly works focus on medium-specific representations of trauma and even fewer comment on the tendency of trauma representations to be autobiographical in the 21st Century. The present paper is part of a larger project that seeks to tackle precisely these issues. Here, I look at the representation of trauma in a relatively recent autobiographical video game, namely Vince Caballero’s Father and I (2012). I argue that the use of trauma as a trope adds a further narrative demand to video games, making it even more difficult to negotiate the specificities of the medium. At the same time, however, it functions as a stock story that enhances the narrative dimensions of the game under discussion.
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In Hungary, which was biased for diff erent reasons in the 20th century, an institution whose buildings are outstanding in visual arts was created. Szent Istvan University started its operation in the building of the Premonstratarian Saint Norbert Monastry and Secondary Grammar School which was founded in the 1920s. Premonstratarian teachers considered the visual education of students important, therefore they invited the best artists of the country to prepare wall paintings of Biblical messages. This is how the history of these artworks started. The creation of mural artworks continued for years, despite the change of the owner of the institution. Due to this intention, couple of artworks precious and unique globally were made in an institution which was fundamentally not a visual art school. These artworks survived three changes in the political systems, some of them were destroyed. Art historian, artist, economist, sociologist, philosopher participated in this research studying the circumstances of the birth and the survival up to present day of these art works.
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The Christian concept of beauty, art, an artist formulated by C.K. Norwid and presented in his Promethidion, clearly refers to the experience of fine arts. The reference to the arts-creating process makes and blends together Norwid’s concept. In order to formulate the definition of beauty, Norwid uses three terms: shape, profile and form. In fine arts these terms have specific meanings, they relate to one another, defining particular stages of a process of creation. Understanding the form as a matrix seems to be significant in Norwid’s concept. It allows seeing the man’s work as an image of God’s act of creation. Humans, created in the image and likeness of God, are capable of creating. We were invited to create beauty and good and thanks to them we discover God as the source of transcendent values and we get close to Him.
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