Нелесни думи, за един нелесен човек
Desislava Mincheva is writing for a fellow painter - Svetlin Rusev - a painter who earned his place with hard work.
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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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Authoress considers aesthetic thinking of George Santayana to be closely interconnected and knotted with his philosophical attitudes and at the same time with his art production (novel, poetry). The authoress suggests that his production (philosophical, aesthetic, literary, social, and political works), in spite of diversity of his ideas, can be characterized by continuity. She proves by evidence that Santayana’s thinking has not changed during his production despite the fact that he has used different approaches or terminology or style, medium... She points at the development of his thinking, shifts of opinions and ideas, which he has had on beauty, art, and life. She points out that his own ontological philosophical system has been developed gradually from his youthful aesthetic ideas. The authoress considers Santayana’s aesthetic thinking, especially his concept of “aesthetic experience” to be inspiring source for contemporary aesthetic and philosophical theories.
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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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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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The article provides a critical reflection on the Iconography of Salpêtrière from the perspective of relationships between photographs from Charcot's clinic and the nude. The author discusses how the images supposed to provide medical documentation became an erotic object elevated by the Surrealists. It seems that art history and the history of medical documentation are intertwined more closely than one might have suspected, and the hysterical females from Charcot's clinic have become inspiration both for artists and writers.
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In modern art history Barnett Newman is often regarded as a representative of American Abstract Expressionism or “Post-Painterly Abstraction.” However, in his own view any such classification would seem highly problematic, because – as he said – his paintings remained too abstract for the abstract expressionists and too expressive for the abstract purists. In his large body of writing on art – numerous statements and essays he wrote as a critic and curator – Newman declared a definitely anti-aesthetic, anti-formalist stance, based on the iconoclastic rejection of sensual beauty and formal purity as an end in itself. The article concerns the historical and conceptual background of Newman’s conception of art, which for him should not be an aesthetic object, but an active “vehicle of abstract idea,” a life embodiment of emotions – something that affects the viewer and places him in a specific situation. His view on his own painting may be related to Nietzsche’s dialectic of the Dionysian an Apollonian in The Birth of Tragedy, which was for him one of it remains unceasingly disrupted by it. This sense of tragedy was presented by Newman as a characteristic quality of contemporary life and the immanent feature of human consciousness. His remarks on this question oscilated between antropological generalisations and concrete references he made to the recent historical past: the destruction and atrocities of the second world war. In 1945 surrealist images stroke him as “prophetic tableaux of what the world was to see as reality.” My point is that Newman’s attitude and his sensivity to various artistic expressions of terror and “horror of life” was partly shaped by this particular historical experience, while it was consequently “displaced” to a higher, more universal plane.
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This article analyses the directions taken by the development of interdisciplinary and trans-disciplinary knowledge on image. In the American version, the issues of image are “merged” in a broader context of visual culture, with the related studies focusing on a critical analysis of our contemporary, new-media manifestations of pictoriality/imagery. The German current highlights, in turn, a historical continuity of iconic issues and their anthropological basis, which may be seen as related to Ernst Cassirer’s tradition of philosophy of culture and cultural studies carried out in the Warburg Library circle. Given this general context, the issues dwelled upon as part of Visual Studies gain a deeper historical basis whilst also becoming a constituent of trans-disciplinary research.
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Bárth Dániel: A zombori ördögűző EGY 18. SZÁZADI FERENCES MENTALITÁSA (Vallásantropológiai tanulmányok Közép-Kelet-Európából 3.) Balassi, Bp., 2016. 316 old., 3200 Ft Communism’s Jewish Question JEWISH ISSUES IN COMMUNIST ARCHIVES Moses Mendelssohn Center for European-Jewish Studies – De Gruyter, Berlin – Boston, 2017. 372 p., $ 168 Az „ezüst pillanatok” nyomában TANULMÁNYOK BEKKER ZSUZSA EMLÉKÉRE Szerk. Hild Márta, Madarász Aladár Kronosz, Bp., 2017. 302 old., 2950 Ft Sándor L. István: Repedések a rendszeren KULTÚRA ÉS TÁRSADALOM A 70-ES ÉVEK VÉGÉN MAGYARORSZÁGON Selinunte, Bp., 2016. 356 old., 3600 Ft Deres Kornélia: Képkalapács SZÍNHÁZ, TECHNOLÓGIA, INTERMEDIALITÁS József Attila Kör, Bp., 2016. 257 old., 3000 Ft (JAK-füzetek) Tófalvy Tamás: A digitális jó és rossz születése TECHNOLÓGIA, KULTÚRA ÉS AZÚJSÁGÍRÁS 21. SZÁZADI ÁTALAKULÁSAL ’Harmattan, Bp., 2017. 282 old., 2800 Ft Tófalvy Tamás: Túl a szubkultúrán, és vissza POPULÁRIS ZENEI SZÍNTEREK, MŰFAJOK ÉS AZ INTERNET Műút, Miskolc, 2017. 210 old., 2500 Ft
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My aim in this paper is to address some difficulties related to the development of an emerging discipline called world art studies. While it originates as a European discipline in the German scholarly tradition around 1900 (Pfisterer, 2008), world art studies comes to the fore only recently (Onians, 1996, 2016) with recent advances in natural and cognitive sciences, which hold promise for providing more inclusive categories that could serve the study of art as a worldwide phenomenon. I focus more specifically on the strengths and weaknesses of psychology as explanatory framework for world art studies. While contemporary scholars no longer dwell on collective mentalities or “spirits” of an age (Gombrich, 1967), the problem of postulating mysterious faculties in relation to art behavior and aesthetic response is still present when adopting as an entry point the universality of human nature.
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Review of: TŘEŠTÍK, M. (2016): Art of Percieve Art. Guerilla Writing about ArtTŘEŠTÍK, M. (2016): Umění vnímat umění. Guerilla writing about art. Praha: Gasset, ISBN 978-80-87079-52-2.
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In this paper I would like to deal with the question how environmentally engaged art can infirm Carlson ́s dualism between art and nature in his cognitive environmental aesthetics. I understand environmentally engaged art as a part of new tendencies in the second half of the 20th Century, when we can observe shift towards more conceptual and engaged art forms that leave the insides of galleries. This type of art projects are in opposition to Carlson ́s art-nature dichotomy. Equally, I would like to show that science is in Carlson ́s theory limiting and can blocade aesthetic experience in many cases. Eventhough it may appear that science can diminish aesthetic experience, environmentally engaged artists, who often use scientific knowledge in their projects, show, that science can be also beneficial in creating aesthetic ́s intention.
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