Издательское дело в России
Publishing in Russia, Among artists, From the musical life, The caftan of Peter the Great, Cinema, Monument to the deceased anarchists
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Publishing in Russia, Among artists, From the musical life, The caftan of Peter the Great, Cinema, Monument to the deceased anarchists
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Незаурядная личность Владимира Семеновича Высоцкого (1938-1980), популярного московского актера и автора песенных и стихотворных текстов, привлекает внимание самой широкой публики уже почти тридцать лет. Не всем его текстам, однако, литературоведы уделяли одинаковое внимание. Многое было сказано по поводу его ранних (т. наз. блатных) стихов и песен, должное было отдано корпусу военных песен, а также многие сатирико-бытовые тексты (наш термин. - Г. Ф.) стали предметом научного интереса. Такой зачастую односторонний взгляд на поэзию Высоцкого, который можно, кстати, объяснить сложным и медленным процессом ее изучения из-за отсутствия точных текстологических данных, приводил к несколько упрощенному взгляду на автора как на поэта-хулигана, разрушающего своим хриплым голосом все доселе обусловленные рамки, причем, на первый план выступал идеологический момент. В поисках ключа к раскрытию сущности творчества Высоцкого, мы не можем пройти мимо жанрово-тематического спектра его поэзии.
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One of the key characters of Josef Škvorecký’s short story Prague’s Little MataHara (1955) is an American musician named Robert Bulwer. “Music-hungry fans of Prague” skillfully use his political refugee’s status to smuggle a jazz revue ontostages of Prague at the time the music style is still viewed as something suspicious.The fictitious character of Bulwer was based on a realistic archetype, American double-bass jazz player Herbert Ward (1921–1994), who together with his wife,dancer and choreographer Jacqueline Ward (1919–2014) and two sons asked for a political asylum in socialist Czechoslovakia in 1954 and then lived in Prague until 1964. Using declassified files of the US Federal Bureau of Investigation (FBI), but also information from Czech and other archival sources and period press, the author depicts the life story of the Wards, in particular their presence in Europe,circumstances under which the asylum was granted, and their life in Czechoslovakia. He sets the story in to the context of persecution of so-called un-American activities (McCarthyism) in the United States after the outbreak of the Cold War; in addition to other left-wing artists, the campaign also affected many jazz musicians, and Petr Vidomus sees motives for the 1950 departure of the Wards from the USA to Denmark in it. He pays a lot of attention to the issue of the Wards’ membership in the Communist Party of the United States and related left-wing organizations and reasons of the FBI’s interest in their activities. In so far as their life in Prague isconcerned, the author is interested primarily in their artistic activities, in particular Herbert Ward’s revues describing the history of jazz to Prague’s audience, and later, in the 1960s, their disillusionment with the life in Czechoslovakia, which made them return to the United States. The article is, inter alia, a contribution to a recently started discussion about the English-speaking left-wing community in Czechoslovakia after the beginning of the Cold War, and also illustrates the work of the FBI during the era of McCarthyism in the United States.
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This paper charts the friendly relations between painter Herbert Masaryk and Prague lawyer Pavel Bächer, documenting not only Herbert’s difficult financial situation, but also his painting work.
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Hymnography of the 16th century, hymnbook, the Unity of the Brethern, the Utraquist, the Habrovany community, Jan Blahoslav, Jan Augusta, indexes of composers of protestant songs, authorship. Jan Augusta is one of the most prolific song composers of the early modern times. The list of his songs that were allowed to be printed in the hymn-book of Unity of Brethren is to be found in Jan Blahoslav’s index of song authors. Many of Jan Augusta’s songs can also be found in the only preserved handwritten hymn-book called Brother Jan Augusta’s Songs that was prepared by him in prison. However, there are five songs in the index whose authorship is uncertain. Our intention was to verify their authorship using the handwritten hymn-book that has never been used by any researchers. The results reveal that the above-mentioned hymn-book from 1598 can be regarded as a relatively reliable source. By contrast, we recommend analyzing the data from Urban’s index critically. The study tries to present the differences of songs if authorship were ascribed to the person who edited the text as it was common during those times. Such approach is based on work with the specific song material as well as on comparing the songs from Habrovany and Utraquist hymn-books. The various text alterations show that the Brethren terminology and doctrine principles were used there. We found that in one case there are two different songs in hymn-books but their differences have never been examined by researchers. Other songs have undergone a variety of different modifications ranging from marginal ones to several texts edited more times in various editions. Jan Augusta as the editor could be hypothetically, in some cases, the person who made the text editing. According to current standards, however, Augusta cannot be considered as the author.
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Today, in higher artistic and artistic-pedagogical educational institutions, emphasis is placed on the formation of the technological culture of future music teachers through the application of innovative technologies in vocal education. In higher artistic and artistic-pedagogical educational institutions, special attention is paid to the formation of the technological culture of future music teachers through the application of innovative technologies in vocal education. The teacher is considered to be a professional with personal phenomenon thinking, technical knowledge, practical skills, and the ability to use creative pedagogical tools, based on the value of technological culture, the ability and the way of technology worldview, and this is formed and applied to creative artistic and pedagogical activities. In this study, it was requested to determine the opinions of the music teachers who teach in modern education conditions on the pedagogical approaches to the concept of emotion. Within the scope of this research, interviews were conducted with 25 music teachers. The study group was selected on the basis of volunteerism for the research. Three unstructured interview questions prepared by the researcher were asked. As a result of the research, it was explained by using the content analysis method. It has been concluded that emotional intelligence gains positive attitudes in the music education process.
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In this paper, the ballet of Igor Stravinsky The Rite of Spring is interpreted from the perspective of Gaston Bachelard's philosophical thought. Bachelard's systemiatic psychoanalysis of literary images in The Psychoanalysis of Fire is applied to the interpretation of musical images in The Rite of Spring. Bearing in mind that rythm is a key characteristic of Stravinsky's composition, the paper analyses the immediate correspondences between Stravinsky's and Bachelard's perception and interpretation of rythm in the works under consideration.
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Two main tendencies which represent the basis of theatricality during the XX-th century, interdisciplinarity (stimulated by the visual artists interferences, emerged from the avantgardes area, and also from contemporary music) and multiculturalism (generated by the interest of contemporary art for both middle-east and far-east influences) remain the important orienting points towards the performance accelerated complexity. The most visible changes are created by the European directors interested in the regeneration of European art, through artistic oriental solutions, process followed by a „tip of scale” in favour of a reversed trajectory, during the median part of the century. Recently, the international stage offers an image completed by artistists of oriental provenience, who not only combine the experiment with a very personal philosophy, but also demonstrate their integration in expressive codes both occidental and universal.
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The opera performance approached from the stage directing perspective is continuously redefined by theatricality, scenic compositions, where the dominant aspect is the artistic concept imposed by the director, by his/her strategies of interpreting the musical material through theatricals reforms. In the opera presented by the most important European festival the evolution is strongly visible, from different “traditional” approaches of the genre where the priority is the musical score, towards the transformation of this genre into an experimental field for the stage director, who uses (or not) the music as basis for his scenic composition. For example, Bayreuth Festival evolves towards Regieoper, applied to Richard Wagner’s repertory, Salzburg Festival which demonstrates a recent search for balance between music and direction, and Glyndebourne where, by the benefic interference of Peter Hall, if visible an ideal version based on the harmony between music and stage directing.
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In their conference, Stan Lai and Octavian Saiu start by a very broad theme: the interplay and the dynamics between tradition and innovation in Chinese theatre. In Stan Lai’s work, there is a very tight connection between these two dimensions, thus the dialogue the two of them will carry out will focus on this particular detail. As the conference will expand from this premise, they will discuss and analyse important themes in contemporary performing arts: the way the theatre of the absurd is performed, multiculturalism, famous festivals in China (Wuzhen Theatre Festival), tradition and modernity.
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The key word of the essay is per me, as I present in it my own reminiscence from my childhood and youth, which was when I first came into contact with the works of two exceptional maestros: Frédéric Chopin and Lesya Ukrainka (the pen name of Larysa Kosach). Chopin created musical poetry, while Lesya – a rhythmic and melodic verbal poetry. The dialogue of the two authors sounds amazing, uncovering an optimistic apotheosis of survival and the trauma of loss – the states expressed in Chopin’s Marche funèbre and by Lesya Ukrainka in her poetry cycle devoted to this composition. The temporarily mature understanding of per me in both these creations also resulted from the trauma caused by the loss of close relatives (first, the grandad at a very young age) and hence became the drive for discovering the content of art and the means of expression characteristic to various branches of art.
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The reception of Chopin and his music in French literature follows the rhythm of the changes in the European intellectual and aesthetic climates. George Sand recorded in her memoirs the image of a romantic genius par excellence, a dark, torn and complicated soul. The decadent and symbolist poetry, best exemplified by Maurice Rollinat, presents a portrait of a blood-spitting neurasthenic, a soulmate of the poet. Marcel Proust paints the image of an elegant dandy and exquisite artist, while the first part of the twentieth century is dominated by the neoromantic vision of Chopin as a great Polish patriot; this theme is perfectly illustrated by the poems of Anna de Noailles and Edmond Rostand. André Gide presents a radically new view of Chopin’s music, seeing the Polish composer as a neoclassicist pianist. Contemporary literature and art go on to dress Chopin in jeans, eagerly turning him into a mass culture hero.
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This article presents a cycle of lyrical works entitled Z motywów Chopina (From Chopin’s themes) by Artur Oppman, published in 1893 in the volume Pieśni (Songs). The shape of this cycle had been modified over the years. In 1908, the poet changed its title and expanded it with new works. This change testifies to the evolution of the creative concept and the set of ideas about the function of the composer’s work. Contrary to the opinion rooted in the tradition of research about the conventional approach to the impact of Chopin’s work presented in Oppman’s lyrical poetry, the authors of the article demonstrate a far reaching originality of the discussed work, focusing their attention both on issues related to understanding the narrowly-defined poetological knowledge and on the problem of translating musical means of expression into the language of a literary work.
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The article constitutes a detailed analysis and interpretation of one of the most important texts written at the turn of the twentieth century, which was devoted to the reception and interpretation of Frédéric Chopin’s compositions in the Young Poland period. In his work, Cezary Jellenta presents the nervous perception of the Polish composer’s music typical of the era and refers in his reflections to numerous works of painting and both Polish and world literature, which perfectly illustrates the fascination with the idea of the correspondence of arts. It is also a testimony to the foundations of the emerging music criticism and evidence of the undying adoration for Frédéric Chopin’s works.
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A controversial film director, with a creative style placed at the border between geniality and imposture, Lars von Trier is a “destoyer” of norms, imposes his own manner which combines inside ecuations, elements like tragedy and melodrama. As an avangardist, always with one step ahead the art cinema, he creates codes of images through manoeuvres of tones and colours which compose the theatrical consistency of the movie (image, music and events). One of his outstanding pieces is Dancer in the dark oriented toward a “tragic music hall” style (Gavin Smith), a demonstration of what the tragic contemporary character means for Lars von Trier.
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Ciganski bi narod mogao postati dio nove mode na Zapadu. Govorimo li ili pišemo o njemu to činimo u kontekstu Podsjećanja na »pogreške « naše civilizacije. Taj opravdani interes najčešće je hinjen, Bilo da od njih stvaramo apostole povratka prirodi (pomalo Nalik nekadašnjim hipijima), bilo da im »pristupamo «na omantičarski način Stvarajući naivno mit o »plemenitom divljaku « i njegovoj »divljoj spontanosti«? Takva neumjesna upotreba Româ ne razlikuje se mnogo od »sažaljenja« koje osjećamo prema njima u zemljama gdje im želimo usaditi naše kulturne navike, čime im onemogućujemo da ostanu svoji.
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In the Middle Ages, the stylistic awareness in the period of up to Ars Antiqua is investigated by several personalities: BOETHIUS, CASSIODORUS, JOHANNES DE GROCHEO and JOHANNES DE MURIS.Along with Cassiodorus, Boethius supported classifications of different types of music in mundane (worldly) and coelestis (angelic, sphere music), in human (harmony within man, corruption of the soul) and instrumentalis (music performed by the natural instrument - voice - and man-made instruments). At this point, we focus on exploring the ideas formulated in Boethius De institutione musica (Book 1), the most important theoretician of the medieval times, involved not only in music, but also as a writer, a specialist of the plastic and the speculative arts, and a politician in the country’s senate.
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The animation theater of the second half of the twentieth century, worldwide, was one of the new experiments, of new discoveries, a theater under the influences of this era. The theater is like a Living organism, which easly adapts to the needs and aspirations of the developing society. The second half of the twentieth century brought great changes in the development of animation theater in the Bessarabian area. The theater has become a space of freedom to tell the truth – thanks to the ability of directors, set designer and actors to hide in stage metaphors, seditious messages with a strong emotional impact. The appearance of the Bessarabian puppet theater as art is not at all simultaneous with that of the dramatic art theater, in a period when the languages of creation brought to the fore the artistic personality, and the artistic production became- both in theater and in literature or plastic arts – a characteristic expression of the creative man, of his personal message, based on a reconception of artistic forms.
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The ability of Romanian composers to adapt to the script was reflected both in the soundtracks of war films where the entire production effort was huge and for psychological dramas too where it captures the essential through a small number of musical moments, understanding and reflecting in the same time the depths of the specific psychological typologies of soul. Symphonic music added first of all an aesthetic value to the film, the fulfillment of the symbolic significance working together with the image increased the global aesthetic value. One technique often used in movies is to use the symphony orchestra to its full potential. In historical films, for example, fighting movement is suggested by the value of constantly repeated short notes, by imprecise pitch, or by emphasizing suspense by percussion instruments.
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The article is devoted to the transformation of traditional oriental musical culture in the Ottoman Empire. The counter movement and the interpenetration of Eastern and European cultures completely changed Ottoman music. On the one hand, Ottoman music has partially lost its oriental traditions, on the other hand, the remaining oriental flavor began to play with brighter notes in new musical works. All these changes would have been impossible without the participation of European and Eastern intellectuals of the new formation. It was they who began the process of shaping Ottoman Western music. At the same time, oriental intellectuals, having abandoned oriental traditionalism in musical culture, carefully treated the history of the musical culture of their society. It seems surprising, but oriental figures of musical art in their practices not only did not see an obvious obstacle on the part of the sultans in the adaptation of European musical culture to the formation of new Ottoman music, but, and, often, the sultans themselves became popularizes of European musical culture. At the same time, we cannot say that Ottoman Western music managed to fully form, but we can definitely state that it gave a powerful impetus to the development of musical culture in the Republic of Turkey at the beginning of the XX century. At the same time, it can be noted that without the interest of Western and Russian musical figures in Eastern musical traditions, there would be no acquaintance with the Eastern musical culture in Europe and Russia. That is why musical works based on the interpenetration of musical cultures are part of the global cultural heritage.
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