Когато рисунката говори повече от думите...
This is article about two of the most notable Bulgarian modern painters, sculptors, artists - Petar Chuklev and his wife Katya Kostova.
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This is article about two of the most notable Bulgarian modern painters, sculptors, artists - Petar Chuklev and his wife Katya Kostova.
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Desislava Mincheva is writing for a fellow painter - Svetlin Rusev - a painter who earned his place with hard work.
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A few words from Desislava Mincheva for the work, progression and personality Bulgarian sculptor Ivan Slavov.
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The aim of the article is to look closely at the character of a pastor in selected works of the Scandinavian cinematography. The analysis covers two Danish films: Italiensk for begyndere (English title: Italian for Beginners) by Lone Scherfig and Adams Æbler (English title: Adam’s Apples) by Anders Thomas Jensen as well as one Norwegian film – De Usynlige (English title: Troubled Water) by Erik Poppe. All films presented were made after 2000, their actions take place in contemporary times and presume that the current social trends show continuous departure of faithful people from the Church. How is the tendency reflected in the way a pastor is presented in the films? Intuitively one may guess that the pastor will be an outsider. However, in the films discussed in this article most characters are outsiders. Their faults and their failures remind us of the fundamental truth of the Lutheran anthropology and theology: man is a sinner. Also: no-one is alone in being a sinner. Being a pastor does not only involve a service within the Church, but first of all the power to forgive other people their sins. This means that the films presented in the article do not just tell stories about pastors, but – more significantly – they explore the Lutheran doctrine of universal priesthood. Each human is a sinner. Each Christian should be a pastor.
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When Shakespeare’s plays were introduced to Japan at the end of the nineteenth century, the translators knew that, if the performances were to have any significant impact on the audience, the texts had to be rewritten according to the dramatic conventions of traditional Japanese theatre, especially Kabuki and Bunraku. Since then, Shakespeare’s plays have been appropriated across various literary and media forms, more recently as manga and anime, cross-pollinations of Western and Japanese art forms and ideologies. Drawing on Julie Sanders’s concept of appropriation (2006) and Douglas Lanier’s contention that most contemporary foreign language Shakespeare is “post-textual” and rhizomatic (2010, 2014), this paper discusses the 24-episode TV anime Romeo x Juliet (Studio Gonzo, 2007) as a site of interesting interactions between the Japanese and the Western cultural traditions, storytelling conventions, and old and new ideologies. Imbued with Japanese spirituality, transnational politics, and ecophilosophical ideas, this anime series is Japanese and global at the same time, speaking more of the anime fan culture in andoutside Japan than about Shakespeare’s play.
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This article shows how the mobile phone or more precisely the smartphone has allowed, for the first time in the history of cinema, the introduction of cinematographic language as an ordinary language (= as an operator in the ordinary communication space), highlighting its main functions in this space, analyzing its form and questioning the consequences of this change of status.
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The study aims at an analysis of the phenomenon of festivals through the lens of a personalistic perspective. The author is of the opinion that the role of festivals as platforms for the development of civil society is best realized when the common good and personalistic approaches are accepted. Festivals, as a form of celebrating genuinely, contribute to the well-being of a society, if they accept the assumptions of the common good approach, which seems to be a promising perspective for exploring the nature of the relation between festivals and society.
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This presentation of works by the Czech photographer and teacher Pavel Mára (b. 1951) is based on a selection of four scholarly articles that were written about him (and are published here in their entirety or in part). Together with his biographical information and a brief overview of his exhibitions at home and abroad, the magazine provides information about Mára’s activity as a creative photographer. The articles, by Anna Fárová (1989), Tomáš Pospěch (2012), Antonín Dufek (2015), and Radana Ulverová (2017), are arranged chronologically. They offer interpretations of his key series, which move between description and abstraction, which he began in the 1980s and has occasionally returned to in variations. The articles are accompanied by more than forty photographs, in black-and-white and in colour, most of which were made as triptychs. They provide a cross-section of the individual series, mostly portraits and nudes, indicating the importance of Mára’s work in the contemporary Czech and international contexts.
More...from manierism to concept
The article is based on a book and texts from Elena Lichá-Zábranská and deals with the lifetime work of the significant Slovak artist and photographer Ľuba Lauffová, who is considered as an extraordinary personality not only for Slovak, but also for European photography in general. She studied photography at the School of Applied Arts in Bratislava and in 1976 graduated from the Academy of Performing Arts in Prague as an exceptionally creative photographer. At first she worked at a primary art school in Bratislava and from 1983 as a free- lance artist. Apart from creative work, she was concerned with illustrations of children’s books in particular. The year 1989 was marked by general feelings of cultural and personal depression. She eventually committed suicide on the 21st of March 2004. In her work, characteristic of avant-garde and inventive artistic vision, she challenged many stereotypes of Slovak art photography. Combining humour with poetry, and beauty with eroticism, her photography has affinities with Czech poeticism and the Slovak form of Surrealism. Ľuba Lauffová was never confined to pure forms of photography and always transformed her point of departure. She easily transferred to various forms of imaginative photography, masterfully exploiting collage, montage, light painting and staged photography. Lauffová completed her positives with painterly interventions, giving free rein to her intuition and associations. As an exceptional artist, Ľuba Lauffová created her own photographic poeticism and exploited a wide range of genres. Ľuba Lauffová had a close affinity with the postmodernist thinking of the early 1980s. Irrespective of the domestic social situation, she identified herself with European and world art development and through her staged photography embraced the principles of classic modernism in the development of Slovak photography, thus contributing to the frequency of photographs as works of art in 20th century Slovak fine art.
More...How photographers encounter place
A photograph intercepts place from its surrounding space. Place has such a significant role in photography that we often want to know where a photograph was taken. Drawing on human geography theories on the concept of ‘place’, this study aims to investigate photographers’ approaches to place. It also explores how conceptual intricacies of place are represented in photography. Based on various types of place experience, concluded from the literature of human geography and the phenomenology of place, five photographers are analyzed as case studies to explore the experience of place in photography. Although a few previous studies have investigated ‘place’ in photography, they have mainly focused on photography practice. This research adopts a new approach which emphasizes the type of the photographer’s encounter with place. It focuses on how place is experienced by the photographer as a human that is considered an indivisible part of place in phenomenological terms. The findings of this study suggest that ‘place’ is a phenomenon that allows photographers to investigate the concepts of identity and attachment, cultural narratives and traditions, environmental challenges, as well as extremes of social realities. In fact, photographers’ approach to place is comparable to that of phenomenologists and anthropologists.
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Starting from a reference to René Magritte`s painting “The Images of Treachery”, the introductory article focuses on a performative understanding of representation. Pointing to the perspective of this painting, literary fiction, acting and masks, it refers to dramatic views in literary studies.
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Review of an outstanding monograph on Terence and his comedies by Ewa Skwara, the finest Polish scholar of early Latin and ancient Roman theatre.
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Author-dramaturg-teacher András Visky has now been collaborating with director Gábor Tompa for many years. In this essay, he presents his ideas about their latest production, elaborating on the issues surrounding the staging of The Merchant of Venice and on the phenomena of the (non)acceptance of alterity, with deep historical roots. How can antisemitism and The Merchant of Venice be approached after the Holocaust? How does this text fit into our own age, shedding a sharp light on its ideological, linguistic, and political relations? Who is Jessica? Visky’s fascinating essay invites readers on a real adventure in thinking.
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The theatre of Oradea organizes its festival HolnapUtán (Day after tomorrow) annually. This year’s program included Attila Vidnyánszky Jr.’s As You Like It, staged with the drama students of the Budapest University of Theatre. For Gábor Beretvás, this was one of the most outstanding performances of the festival. His analysis emphasizes as a valuable feature of the production that it invokes the cinematic, musical, and online media popular with the current youth. He also draws parallels with some Romanian theatre directors. Radu Afrim uses a similar theatrical toolkit, but the elements of the popular culture of a previous time, while the performances of Silviu Purcărete show the influence of fine art.
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The “Found Image” section of our journal includes photograph of a puppet from the stage scenery of the performance Kapufa és öngól (Near miss and own goal) by the Szigligeti Theatre from Oradea, to which Zsuzsa Ozsváth has written a commentary.
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Movement means life and life is expressed through movement. Point and Line are signs of language in Universal Art. On the white of the page, the writing means a point in evolution. The point and the line lead - by the control and the way in which they are treated - to the appearance of the form. From prehistoric painters to the painters of modern art - all have done little more than choose the most eloquent events in the surrounding life, transforming the Universal Art History into a grand and perpetual "report" on the Movement, the Transformation and the Future.
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Without a doubt, prince Hieronim Florian Radziwiłł (1715–1760) belonged to a group of the most picturesque personalities of the north-eastern territories of the former Polish-Lithuanian Commonwealth. In the present article, an attempt has been made to present in more detail the collection of natural objects gathered by Hieronim Florian Radziwiłł which constituted, at least in part, a fragment of his wider collection of cabinet of curiosities; an attempt has also been made to present the prince’s interest in topics associated with medicine.
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