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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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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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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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In this article, we analyze the artwork of three contemporary Polish artists, Ewa Wójciak, Marta Frej and Cecylia Malik, in order to understand the issue of performative motherhood as depicted in their artwork/performances. The works of art of Polish artists analyzed here touch upon the topic of motherhood in various ways; all of them, however, deal with a myth deeply rooted in Polish culture: the myth of Mother Poland. The performative references of the artists to motherhood reconfigure the traditional comprehension of the roles of mothers, and engage with this myth, not by refusing the role of mother, but by redefining it.
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The artist was born on November 21, 1893 in Mińsk, Bialorussia. He was the eldest son of a Polish family, though his father was a Lieutenant Colonel of the Tsarist Army. Strzemiński’s first encounter with modern art took place during his studies in Sankt Petersburg. He graduated from Tsar Alexander II Cadet School before studying at a Tsar Nicholas Military College of Engineering (1911–1914). In the middle of 1922, Strzemiński and Katarzyna Kobro – his wife – left the Soviet Smolensk and came to Poland. The events which undermined their and many other artists’ belief in value of art fully expressing the ideas of victory of new forms might have influenced their decision to settle down in Poland. In autumn 1931 Strzemiński moved to Łódź. Following the opening of the International Collection of Modern Art at the Łódź, Strzemiński was offered a teaching position in Łódź. Almost from the beginning Strzemiński was surrounded by young artists, graduates of art schools in Warsaw and Kraków (Stefan Wegner, Aniela Menkes, Jerzy Ryszard Krause, Bolesław Hochlinger). He was their teacher and master. The Public School was not only a place which offered additional training for printers and house-painters, but also the meeting place and studio where theoretical programs and exhibitions were prepared. Strzemiński taught typography and the principles of functioning printing. Another group of students who studied with Strzemiński was recommended to him by Mojżesz Broderson and Jankel Adler. It was the group of very young Jewish students: Samuel Szczekacz, Julian Lewin and Pinkus Szwarc. They started a private evening course at the Public School of Technical Training No. 10 in Łódź. The intensive art course attended by thise group included practical elements inspired by the image-making and spatial form techniques developed by Pablo Picasso, Kazimierz Malewicz, Piet Mondrian, Strzemiński and Kobro, and Jean Arp. These forms of art are known as cubism, unism, nepolasticism, suprematism and surrealism. Strzemiński and Kobro spent the summer 1939 together with their daughter Nika in Hel Peninsula. When the war broke-out, they left Łódź and headed East, where they spent the sever winter of 1939/1940. The first war series of drawings was created there. In May 1940 the artists came back to Łódź/Litzmannstadt. The first 3 months after the invasion of the city by the German was a period of massive extermination, including creation of Łódź ghetto. The Strzemińskis, without work, prose cuted for their revolutionary artistic activities tried to survive; at the end of war Strzemiński was seriously ill. In this period artist the artist drew a series of six drawings made in pencil on paper (Deportation). The drawings made in a winding line and showing deformed, as if deprived of the structure human beings, created the artist’s auto-commentary. After the series Deportation he created the next series War Against Homes (1941) and Faces, which consist of closed forms drawn in thin, wavy line suggesting eyeless human faces composed of fragmented facial features of anonymous people. Then the series Cheap as Mad (1942–1944) was created. These drawings were produced during the war and are highly deformed, drawn in one contour of an amorphous line. The last cycle connected with war and the Holocaust was a series of collages dedicated To My Friends the Jews. He re-used copied by carbon paper war drawings of the previous series as a matrix. The artistic technique used here by Strzemiński touches the primary, in relation to the Holocaust. The Holocaust should exist for us as „an empty place”, one which cannot be possessed by means of the metaphor. This place of lack or the fissure is filled here with documentary photographs, which give the evidence and confirm the extermination. At the bottom there is the cut out photo showing a charred corpse. The sketchy line and the charred corpse are joined together by the red color of splutter of blood. In other works of this series the artist used a photographic document showing children from an orphanage in the Litzmannstadt ghetto in the company of their caregivers going in pairs to the extermination camp in Chełmno. Mendel Grossman was a Jewish photographer in Łódź/Litzmannstadt ghetto and author of one of a few photographes used by Strzemiński (The Empty Shinbones of the Crematoria). Strzemiński used in his collages also the documentary photographs printed in Polish newspapers, edited between 1945 and 1946. It was the time of Nuremberg Trials, and the time when the pictures made by photographers of the US Army at time of liberation of concentration camps were published [Stretched by the Strings of Legs and Vow and Oath to the Memory of Hands (The Existence which We Do Not Know)]. Strzemiński also used the photographs from „The Stroop Report” – 75-page official report and a series of approximately 52 photographs prepared in May 1943 by the commander of the forces that liquidated the Warsaw Ghetto. The art work titled With the Ruins of Demolished Eye Sockets presents a solitary man among the ruins of Warsaw Ghetto, and is from „The Stroop Report”. Strzemiński rejected Communism in the 20ies and then Fascism in the 30ies but didn’t find the canon, which could negate his feeling of helplessness and nonsense, losing himself in a lack of form of his war drawings. This series of Strzemiński analyzed from the distance of few decades makes a suggestive, forceful and permanent picture of emptiness and void, which he tried to fill with the state of mourn and sadness.
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Łódź, as a city of huge post-industrial and modern art potential, has become in recent years a unique Polish tourism destination whose urban fabric constitutes a perfect background for street art. Examples are the murals of the Urban Forms Gallery (large format artworks) which contribute to revitalisation as well as the creation of new tourism assets to form a new tourism space: art-tourism space. The paper describes both the process of creating this space as well as its distinctive features.
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The article presents the relation between the presence of works of art (buildings, sculptures, paintings) at different locations in the world, and tourism. The main theoretical and practical questions include the following: How important is knowledge of the history of art for seeing works of art? What other factors make modern travellers visit places where they can find these works of art?
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Review of: Przemysław Waszak - R. Cormack, Byzantine art, Oxford University Press, Oxford/New York 2000, ISBN 9780192842114, ss. 256.
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Although the beauty constitutes the proper subject of the aesthetics, it cannot be fully owned by the esthetics. Already ancient art saw beauty as not only superficial and subjective. The beauty can be completely expressed only in the unity with the Good and the Truth. This view finds its expression in classic tradition and continuity in Christian art, trying through the relation to sacrum to show the best way of solving the dispute of beauty with the Good and the Truth. Their traces in the work of creation find their expression in arts through centuries.
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