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A 21. századra a fesztivál az ünnepléskultúra egyik legmeghatározóbb formája s egyben a kultúraközvetítés új tényezője lett. Az ókori és középkori ünnepektől eltérően a mai fesztiválok jellemzően nem évszázados szokásokra, hanem egyedi ötletekre épülnek, a művelődésben játszott szerepük is ennek megfelelően változatos. A kutatás során a kulturális fesztiválok társadalmi funkcióit a szocializációs folyamatokat biztosító interakciók mentén elemzem a konformitáshoz való viszony (kulturális beágyazottság) és a közösségi kapcsolódás (közösségi beágyazottság) szerint. A kutatás alanyai egyfelől a 2007 áprilisa és decembere között megvalósult, az NKA Kiemelt Kulturális Események Ideiglenes Szakmai Kollégiuma által a kiemelkedő jelentőségű kulturális események számára kiírt pályázati felhíváson nyertes fesztiválok szervezői (N=57, későbbiekben 2007-es kutatás), másfelől, a 2009. évi színházi fesztiválok szervezői voltak (N=9, későbbiekben 2009-es kutatás). A kutatás során kérdőíves adatfelvétel történt a szervezők körében, emellett megfigyelési naplók készültek az eseményekről.
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In the cemetery in the town of Szczebrzeszyn, there is a chapel dating from 1907-1908, founded by Count Maurycy Zamoyski, the 15th lord of the Zamoyski Family Fee Tail. This chapel has a long tradition based on the legend about its origins. The present building is the third one standing here, the previous wooden one, from the beginning of the 19th century, was completely destroyed. During the pastoral visit of Bishop Jaczewski in Szczebrzeszyn in 1905, Maurycy Zamoyski promised to rebuild the chapel and to finance the project in its entirety. This was a unique situation because it was rare for any fee tail to cover the cost of the construction of a church. Only materials were usually provided and the aid did not exceed 10% of the collator’s donation. In 1907, Alfons Helbich, the builder of the Fee Tail, started the construction of the chapel designed in Neo-Gothic style; the works were delayed by the government which was reluctant to approve the plans and cost estimates. Therefore, it was necessary for the bishop of Lublin to intervene. The construction was supervised by Michał Kołodziejczyk, a bricklayer, familiar to the Administration of the Fee Tail because he was responsible for the construction of the church in Mokrelipie, also located in the Fee Tail. According to the agreement Kołodziejczyk signed with the Governor of the estate of Zwierzyniec, he was supposed to raise the walls and cover the roof by 1 November 1907, then to finish the chapel and put it into use by 1 June 1908. Kołodziejczyk fully adhered to the agreement, and on 28 November 1908, a protocol of transfer and receipt was signed, in which the chapel was handed over to Rev. Jan Grabarski, a parish priest of Szczebrzeszyn. This chapel is an expression of Count Maurycy Zamoyski’s generosity and his concern for sacred objects in his Fee Tail. This concern is also evidenced by other magnificent churches created during Maurycy’s rule.
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The church in Kraśnik, as presented in the visitation records, was well equipped with the necessary paraments to perform the liturgy. It is also noteworthy that all the church regulations were obeyed. From the description of the visitation, it can be concluded that some of the presented elements were more numerous than it was noted, and in other cases, it was only generally stated that there was a sufficient number of some paraments - this style of description was also typical of other visitation reports. The Canons Regular quite early equipped themselves with church's new books and paraments, as the Church's law required; it proves that Canons Regular met the Church's regulations. The vast majority of books and paraments were acquired by local parish priests, who were also superiors of the Canons community.Paraments and other equipment collected in the Kraśnik church and its sacristy in the Old Polish period were often excellent works of artistic craftsmanship, and therefore, in addition to their basic liturgical function, they had also cultural importance. Being most susceptible to destruction, they shared the fate of the church, the parish and the religious order, hence a small number of the old preserved church equipment.
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Modern furnishings of the church dedicated to the Assumption of the Blessed Virgin Mary and St. Augustine in Kraśnik were created over three hundred years. However, the oldest trace of the decor from the 16th century is scant. In the first half of the 17th century they were exchanged, and it was at the time when the monastery in Kraśnik joined the Cracow Congregation. The 1630s were particularly important in the creation of the new decor of the church as the following things were founded: choir stalls, including collator ones, paintings by Dolabella as well as the high altar and brotherhood’s one. The above-mentioned elements of the interior were means of conveying the most important themes: canonic (Ordo apostolicus, the patrons of the Cracow Congregation), Passion, Eucharistic, Marian (including SalvatorMundi and MaterMisericordiae) as well as patronal. It cannot be ruled out that intensive artistic investment was connected with the plan to convene the General Chapter in Kraśnik in 1635. In the following decades, especially in the mid-eighteenth centuries, the interior was supplemented and developed, within the aforementioned themes, through the foundations of new altars, a pulpit and paintings in the chancel.Comparing the themes of the church decoration in Krasnik with other churches of the Canons Regular of the Cracow Congregation, it should be noted that they are typical. They referred to monastic life, including the spirituality of the canons and the "primacy" of the congregation, as well as the pastoral ministry being developed on the basis of Passion, Eucharistic and Marian themes. They were presented in the context of the changes taking place in the life of the Church after the Council of Trent, the trend which was also adopted by the Cracow Congregation of Corpus Christi, which co-created a new model of the sacred art in the Republic of Poland.
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In July and August of 2015 in the area of the Trzydnik Duży commune, a field study was carried out, regarding sacral roadside monuments. Observations concerning the condition of the inventoried objects were recorded during the analyses. Inscriptions and vital information relating to the history and religious practices found on these objects were also noted. The sacral objects and their surroundings were photographed. What is more, interviews were carried out with passers-by about the history of the studied objects. As a result of this study 73 roadside sacral objects were inventoried, including 17 house-shrines and cabinet shrines. The remaining objects are wooden, and metal crosses, as well as two statues of Virgin Mary. The study was pioneer in character, since a complex inventory of sacral objects in the Trzydnik Duży commune had not been performed before. The historical-cultural or natural value of these objects had not been investigated. Therefore, the aim of this study was to highlight and preserve their historical value. Their artistic and architectural forms, as well as cultural and religious meaning in the history of the Trzydnik Duży commune were brought to attention.
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The raw material of the photographs is a daily object on which Anne Lefebvre relies to announce worries. The motifs are composed of elements collected in the artist’s home environment. Household items, bath, glass, spoon and hand to order the whole.Anne Lefebvre deploys the object and increases it.Each test is worked at length like an engraving and is obtained after several states.
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“For Decent Slovakia” gathering on March 9, 2018. One of the most interesting par excellence placard was made of a semi-transparent foil and contained the word Transparent [in slovak language also meaning “placard”]. We can approach this creation as an ironic oxymoron or redundancy of meaning, but also as a certain interpretive parallel to René Magritte’s image “Ceci n’est pas une pipe” or as an example of conceptual art that perfects the issue of representation by Joseph Kosuth “One and Three Chairs” consisting of a wooden folding chair, mounted photo of a chair and a photographic enlargement of the dictionary definition of “chair”. Of course, we can understand this message less ambivalently, interpreting it much more prosaically, not only as author ́s recession or sarcasm, but in a sense of desired transparency of investigation. It refers to the fact that the transparency of murder investigation presented by current government structures in media isa simulacrum. However, the death isn ́t.
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This paper deals with a question of existentialism (or non-existentialism) in the novel Družné letá (Companionable Summers) written by Dominik Tatarka. The study directly refers to the monograph Dominik Tatarka in the Context of Existentialism (M. Antošová), where we focused on the significant “diapason” of Tatarka ́s works through the optics of existentialism. We are not dealing with the texts which Dominik Tatarka wrote in the spirit of socialist realist method and would require a special approach for logical and system reasons.This study has an ambition to cover this gap at least from one side and exactly for these reasons the interpretation analysis (in correlation with a comparison aspect) of the socialist realist work Družné letá (Companionable Summers) through existentialist sight becomes its subject.
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Digitalization is one of the most common topics, discussed by different authors the past decade. Since the beginning, the digital process came across a specific problem of transfer, from analogue to digital form, which is common for all arts. At first it looked as the digital is the ultimate future, and all we have to do is to digitalize all old masterpieces and art works in general. Slowly, as the technology improved, we understood that there are several major problems. The first is that there is no ideal way of digitalizing an art work, in a way that it is fully and a hundred percent transferred and preserved the same – all kinds of digitalization inevitably influence the original work of art. Secondary the technology changes rapidly and every time the analogue source must be digitalized again. The following paper is concentrated mainly on photography and cinema, and occasionally in other arts. It looks and analyses the different kind of digitalization processes, mainly through my own photography experience, but also mentioning and giving the results of other researches like Guy Burns and his “The Art and Science of Reproducing Kodachrome”. All the results are compared and carefully analysed – the classical flatbed scanners, specialized film scanners, the photo lab machines and the duplicating principle of DSLR. As photography deals with quite many techniques and variety of forms, not all digitalizing ways are applicable for every source. Despite that, they all show without any doubt that the art works change when digitalized. Even more – there are certain art works that particularly could not be digitalized, at least with satisfying results. That is the reason to call it impossible digitalization. Although it is more accurate to say that digitalization has infinite options possible. And when distributing the result, there are even more variety of reproducing the image, which are totally out of control of the author. The digitalization today is unavoidable, but still we have to have in mind that relativity.
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The design and presentation of the production of rose water and attar of roses at international expos in the early twentieth century are under consideration. Art processes, displays of various historical styles in their local specifics, and the creative contribution of their authors, paramount to the history of fine arts, are traced from showcasing of vials to the ‘revolutionary concept of fountains of rose water to dioramas. Written records on this topic of international events held prior to 1900 are adduced. A Fountain of Industries mounted at the Universal Exposition. St. Louis, USA, 1904 by Boris Schatz is examined. The art concept and design of rose water dioramas by Charalampi Tatchev at the expos in Liège (1905), Milan (1906) and the rose water fountain at Balkan States Exhibition, London (1907) are analysed. The sculpture Nymph by Zheko Spiridonov is of special interest in this context and his career in Bulgarian fine arts is traced. The Nymph was conceived in Munich to be executed in Prague and exhibited in Sofia, Munich and Paris, was put on display in Belgium (1905), Italy (1906) and Great Britain (1907), becoming part of this country’s cultural heritage as a museum exhibit (1919); yet the sculpture left Bulgaria decades after touring Europe. This country’s participation in the expos in Thessalonica (1926, 1927, 1930) is also examined. Rose water fountains have also been recorded at the expos in Paris (1937) and Vienna (1954). Rose water fountains in various combinations of varying quality of their designs were a constant element of Bulgaria’s presentation regardless of the political governments, style movements or their designers
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The paper gives in broad strokes the inconsistency of drama with performance in the period of Romanticism as evidenced mostly from the history of English theatre. The period of Romanticism movement in theatre is less well explored. Typical of this movement is the gap and inconsistency between drama and its performance. The fact that a good part of the plays by Romanticists have not been staged at all, is really telling. The authors’ dramatic fantasies went beyond the conventions of the coetaneous theatre practice and a major part of texts that have been meant for the staged, proved inadequate or went beyond its capacities. That was rather in tune with the Romantic perception of Shakespearean oeuvre, which began to be deemed as too good for the harsh materiality of theatre. Romanticists’ dramatic pieces drastically changed the conventional idea of action, composition and personages and as such they aroused anticipations of the development of drama in modern and post-modern times. On the other hand, these were highly charged with sensuous and visual imagery, which could be deemed to evidence that these texts held a potential for being much more than just ‘plays for reading’ and were potentially stageable.
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The paper draws attention to the ideological and aesthetical prerequisites for a new line of development of industrial photography in this country: images free from pathos, narrativity and emotionality. Bulgarian photography as presented in the 1950s images, where the question ‘what’ that has inherently accompanied artistic tools, has been replaced with the more vital to the authorities ‘why’ and ‘how’. Arts, including photography, ought first and foremost to have ideological nature. A decade later, in the 1960s, the reality has changed, which called for changes in the photographic imagery. The authors and author’s own interpretations of the subjects were increasingly featured. Impressive construction sites and enthusiastic workers still occurred in the pictures but along with industrial buildings presented as metal monsters or lonely creatures, isolated in the wilderness of lunar landscapes without any evidence of human presence. Geometricity, pure forms and emphasised lines in the pictures were seen as an expression of this country’s technological revolution and industrial progress.
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This article seeks to present the changes in the oeuvres of the first generation of stage designers working in the wake of the communist coup of 1944. It was the National Theatre where a number of renowned painters took to visually designing theatrical productions. Bulgarian stage practices suggest that pioneers of scenography were mostly painters. Some of them developed their enthusiasm for this new to them genre into their main activity and a mission in their capacity as artists. To others, the endeavour was just an experiment and curious experience. The communist coup of 1944 called for reconsidering the established visual styles of a theatrical production. Socialist Realism was the method stage designers had to conform to in their work both for the stage and beyond. In the first several years in the wake of the coup, theatrical productions of the National Theatre still preserved some elements of the former aesthetic, while following 1948, the individual manners of artists were made uniform. New authorities succeeded in cracking down on the remnants of the avant-garde movements that have influenced the artists, by establishing the Committee for Science, Arts and Culture (CSAC), the agenda in arts of which was pursed mostly by the Union of Bulgarian Artists. A number of artists, writers, musicians, actors and intellectuals faced the dilemma whether or not to collaborate with the authorities to carry out the experiment called ‘the method of Socialist Realism’. The article presents stage designers Ivan Penkov, Asen Popov, Evgeny Vashchenko, Georgi Karakashev and Alexamder Milenkov.
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The paper deals with a monument, sporadically mentioned in scientific literature, of the earliest period of the Bulgarian National Revival: the Church of St Nicholas in the village of Katunitsa near Plovdiv. Decoration of the church––an iconostasis, icons and murals––has been commissioned on a regular basis well until the end of the period of the Bulgarian National Revival by a number of church donors living mostly in Katunitsa. The iconostasis and the icons in the Deesis tier painted by Zachary Zograph in 1834–1835, were dated to the earliest stage in the decoration of the church coetaneous with the construction of the building. Decades later, the Feast tire of icons were commissioned to be executed by different icon-painters along with the mural paintings at the naos of the church made by Alexy Athanasov. The latter were precisely dated to 1852. The same icon-painter painted the murals flanking the north entrance to the church in 1866. A thorough presentation of the church of the village of Katunitsa is of paramount importance not only because no attempts have been made to record it comprehensively, but also because it adduces examples of the earliest oeuvre of two of the most renowned and prolific icon-painters working in and in the vicinities of the city of Plovdiv, i.e. Zachary Zograph and Alexy Athanasov.
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The article deals with contemporary puppetry theatre stage practices in the light of the strategies of the interplay between three theatrical phenomena: a dramatic work/text, performance and its reception. What are the different modes in-between the extreme of the ‘theatre of a text’, where a performance is a visualisation of a play/text and the opposite extreme, which may be defined as a ‘theatre beyond text’? At the turn of this millennium, Bulgarian puppetry theatre stage practices evinced classical and innovative quests of both the generations with established creative activities and new creative drives forming together the present situation in Bulgaria. Following the turn of the twenty-first century, the potential of puppetry theatre occurs in various aesthetical and idea-driven pursuits, which could be generally classed in three groups: two of those are defined as belonging to the classical puppetry theatre––its homogenous and heterogeneous forms––and the third is a more experimental new use of nonliving matter onstage such as the theatre of material. The topic suggests a focus on the quests for artistic inspiration and stage practices of Slavcho Malenov, Peter Pashov, Bonio Lungov, Katia Petrova, Teddy Moscov and those debuting after 2000: Veselka Kuncheva, Mila Kolarova, Bozhidar Alexandrov, Magdalena Miteva, Peter Pashov Jr and Milena Milanova through an analysis of their creative laboratories, theatrical expressiveness, visual stage solutions and their reflection on the text-performancereception strategy.
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Two terracotta statues in the collection of the Budapest Museum of Fine Arts and unpublished until now are orignally from the Black Sea site of Kallatis, now Mangalia. A detailed discussion of the pieces shows that they are datable from the second half of the 2nd century B.C. to the first quarter of the 1st. After a summary of the history of terracotta production in the area from its beginnings in the 4th century, the article shows that the local production flowered in the century and a half preceding final integration into the Roman Empire, an act completed by a treaty preserved in an inscription dated to the mid first century B.C., and was one of the most important ways in which the Greek and non-Greek populations of the place were able to square their differences. Publication of a terracotta head in the collection of the Antiquities Department of the Budapest Museum of Fine Arts, and discussion of its place in the art of the Samnites. Similarity of the piece to votives found in the sanctuary of Schiavi d’Abruzzo. In connection with the latter, remarks on the importance for the Italic peoples of sanctuaries located outside settlement-areas, also notes on a few important characteristics of Samnite art and the disappearance of the Samnite culture after the Roman conquest.
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Konstantin Andreevich Somov (1869–1939) was one of the founders of the St. Petersburg art associ- ation “The World of Art”. He belongs to the most signifi representatives of Russian art of the late 19th and early 20th centuries. Even in Soviet times, his art was not completely banned for scientifi examination. However, at the present time, Somov’s life and art remain little studied, with all the interest to them from both the researchers and the public. The range of problems discussed in connection with Somov is expanding very slowly. Usually it is assumed that the reason for this is the inertia that has been preserved in Russian art history since Soviet times (the artist left Soviet Russia in 1923 and did not return). However, even now there are issues among researchers that are “not accepted” to touch. These issues are not related to politics, they are avoided to be called. It is about Somov’s homosexuality, which he, at times implicitly, but invariably distinctly, refl in his works. Without comprehension of this problem, an integral interpretation of Somov’s art is impossible. The article shows how Somov turned into a subject of omission. It also determines its place in Soviet and post-Soviet historiography and exhibi- tion practice. Some mechanisms of censorship and self-censorship within the scientifi community are identifi and described on the basis of private correspondence between Soviet art historians and artists. The article is writ- ten with the involvement of a large number of unpublished sources, including Somov’s testimony about himself; a text of well-known publications is reviewed by comparing them with original manuscripts.
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