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Георги Ингилизов и българската маринистика

Author(s): Margreta Grigorova / Language(s): Bulgarian Issue: 1/2018

The paper presents maritime writer Georgi Ingilizov’s (1955–2018) concepts, ideas and initiatives (editorial activity, filmography) related to the status of Bulgarian maritime fiction and its place in Bulgarian literature. The paper also traces the maritime writer’s creative path and addresses the main aspects of his maritime prose related to sailors’ values and problems. The text corresponds to an interview with the author, published in this issue.

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Творецът и неговият модел

Author(s): Diyana Nikolova / Language(s): Bulgarian Issue: 1/2013

The text analyses some particular features of the culture of the Antiquity and their projections into Western art, more specifically the ideas of love and happiness, of the artist/creator, of the roles of women in society and art. By tracing literary examples from the Antiquity, as well as literary historiography I will highlight the stable lines of representation which have also fed into the topos of West European imaginary – the image of the woman artist/creator (Sappho, Corinna), the myth of the male artist/creator and his model – “muse” (Kampaspa, Phryne, Lais, Aspasia, Cynthia, Fornarina), the myth of Pygmalion and Galatea.

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Фантастично и фантасмагорично в контекста на романтическата традиция

Author(s): Boris Minkov / Language(s): Bulgarian Issue: 1/2019

The present study attempts to abandon the genre-related discussion of the fantastic. For this purpose, it develops a working concept of phantasmagoria: image projection of cognitive universalia which have been frozen after passing throught the prism of the ironic turn. To trace the various characteristics of the phantasmagorical, the article provides examples from the work of Е. T. A. Hoffmann, Clemens Brentano, Wilhelm Hauff and Heinrich Heine. In relation to the romantic tradition of phantasmagoria after the 19th century, it discusses Stanisіaw Lem’s The Star Diaries. An essential point in the study is the contention that phantasmagoria is unrelated to the ‘realistic art-unrealistic art’ opposition.

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Промени в методологията за изследване на съвременното изкуство на Украйна: представяне на женствеността

Author(s): Daria Lutsyshyna / Language(s): English Issue: 1/2022

The article discusses the shift from the methodology of the Soviet totalitarian period in Ukrainian art history to the modern methods that are more appropriate for the interpretation of contemporary Ukrainian art. The analysis showed that, during the Soviet period, art and art history in Ukraine were under strict ideological and political control. Art history and criticism were widely used as a means of ideological propaganda, and therefore art studies could not fully represent and interpret art. A considerable part of the art phenomena was ignored by researchers due to the hierarchy of trends and genres of art established in the USSR; art historians had to assess the “validity” of an artwork or an artist according to the official ideology. The variety of methods and research instruments was limited and insufficient for the research of contemporary Ukrainian art, including feminist art. The creative work of the Ukrainian female artist Alina Kopytsa is shown as an example in order to demonstrate the expedience of modern approaches, which are still not common for Ukrainian art history. Thus, a wider range of methods and approaches is regarded as the means to develop an effective methodological background, and to provide a better understanding of contemporary Ukrainian art.

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(Self-)Portrayals of Mixed Cultural Identities in the Works of Emily Carr and István Fujkin

Author(s): Krisztina Kodó / Language(s): English Issue: 2/2021

The article examines the work of two artists, Emily Carr (1871 – 1945) and István Fujkin (1953), focusing on Carr’s early and mature “Indian paintings,” and Fujkin’s “Blue Owl” series, completed between 2001 and 2005. The paintings chosen from among Carr’s works are thematically linked to Klee Wyck (1940), her first fictional work describing her travels and experiences with the First Nations People in British Columbia. Though the two artists come from different cultural backgrounds, since Carr was descended from English immigrants and Fujkin is a Hungarian born in the former Yugoslavia, there are similarities in their work. Both artists depict work across time and make use of transnational imaginaries of nature and Native Canadian cultural symbols that ultimately function as a bridge between Native and western culture. Fujkin’s talent lies in his ability to “paint the music” composed and performed by Canadian Mohawk musician Robbie Robertson. Emily Carr’s paintings offer images of her visionary world that transcends cultural identities and provides an insight into nature infused with spiritual and magical elements.

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On the Parallel Struggles of Photography and GAN-generated Imagery

Author(s): Martina Šimkovičová / Language(s): English Issue: 1/2023

This article analyzes certain aspects of the reception and acceptance of the emerging technology of GAN generated visuals (DALL-E, Midjourney, and Stable Diffusion) by the general public as of mid-2021 to early 2023. It will deal specifically with the negative and positive expectations of it and put them into the context of social acceptance and expectations surrounding the formation of the photography medium in the early 19th century. Both of the inventions mark a milestone in the timeline of a data-driven society. Both tools utilize a reference to reality or its visual coding. GAN image generators, as well as photography, were expected, as a product of science, to deliver almost mythically perfect, objective outputs. While photography had previously been used in pseudoscientific projects to support racist claims, the public appears surprised by the bias of the GAN datasets, and their creators are currently looking for ways to eliminate it through process moderation. The goal of using this comparison is to explore a common trait of both epochs: the affinity for devices, specifically the idea of “a black box”. It will aid us in describing the relationship of the data society to itself based on machine-based creation of visuals with varying degrees of autonomy and generativity. Finally, we will examine the practical implications of the discussed aspects in the near future.

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Taboo Topics in Limited Series Offered by Internet-Distributed Television

Author(s): Zuzana Kvetanová,Jana Radošinská / Language(s): English Issue: 1/2023

The broader structural and organisational changes associated with the global expansion of Internet-distributed television have changed the ways in which we perceive the qualitative level and socio-cultural significance of television dramas. Individual transformations can be perceived in connection with the hybridisation of genres, the thematic variability of individual works, the number of episodes and their average length, or relevant considerations about the need to better understand TV dramas as products that are qualitatively equal to ambitious film production and in many respects even overshadow it. A currently resonating area of interest are mini-serials/ limited series, which target audiences often prefer over other types of episodic works with a significant number of seasons and instalments, emphasising their high-end quality and refined production value. The popularity of this type of content results from engaging and complex narrative structures, which often include explicit depiction of taboo topics, such as stories and plotlines related to death (or old age and/or dying), sexual behaviour, various deviations, extreme violence or self-harm. The presentation of these publicly suppressed topics in limited series is the focus of our interest. The main goal of the study is to reflect on the current popularity of television mini-serials in the environment of Internet-distributed television, taking into account the taboo topics that are portrayed in them. We achieve this goal on the basis of theoretical reflection on the issue, analysis of the thematic specifics of selected television works and subsequent synthesis of acquired knowledge.

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КУЛЬТУРОЛОГІЧНИЙ ПІДХІД У ДОСЛІДЖЕННІ ВЗАЄМОДІЇ ПОПУЛЯРНОЇ ТА НАРОДНОЇ МУЗИЧНОЇ КУЛЬТУРИ У ТВОРЧОСТІ УКРАЇНСЬКИХ ВОКАЛЬНО-ІНСТРУМЕНТАЛЬНИХ АНСАМБЛІВ 1960–1980 РОКІВ

Author(s): Tamara Yasiuk / Language(s): Ukrainian Issue: 2/2022

The purposeof the article is to identify the types of interaction between the national mass culture of the 60–80s, represented by vocal and instrumental ensembles and folk music, and to determine the trends in its development during this period. The research methodology is based on the systematic analysis of domestic pop of the 1960-80's. The descriptive approach provides the disclosure of the most complete picture of Ukrainian pop, which allows different approaches to the problems of its evolution in the author's, performer's, educational, and entertainment context.Scientific novelty. The most complete systematisation of the music of national VIЕ in the context of interaction with folklore (by years of releasing albums, singles), for the first time a list of pop arrangements of Ukrainian folk songs by the most famous ensembles is presented. Besides, the general tendency of penetration of folk song and dance intonations into author's compositions is covered. The combined types, namely the use of author's music and folk poetry and vice versa in one work, are shown. It is proven that the regional factor is not localised in the music of certain ensembles, but is common to many, arrangements of songs of different regional origin are found in the music of ensembles from all regions of Ukraine. Conclusions. The period of the 60s and 80s in Ukrainian popular culture is significant in terms of new approaches to authorship and performance. It is then that it becomes mass. This is the time of the birth of professional pop education, the function of which was partially performed by Ukrainian ensembles, experience in ensembles provided professional skills of performers. Folk music culture has become an integral part of the repertoire of bands in the form of pop arrangements, genre stylisations. Orientation to folklore is demonstrated by all well-known ensembles of that period, the range of folk songs processed by pop musicians is significantly expanding. There is a total renewal of all means of expression associated with the development trends of European pop culture, to which the national fully belongs.

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Red Zora and Her Gang (Die rote Zora und ihre Bande) and the Croatian Canon of Children’s Literature

Author(s): Ivana Odža / Language(s): English Issue: 02/2022

Red Zora and Her Gang1 (orig. Die rote Zora und ihre Bande) is a 1941 novel by the German-Swiss author Kurt Held (Kurt Kläber), inspired by the Croatian mentality and Croatian history. While it was enormously popular in Germany, the Croatian translation was issued only in 2017. In this paper, we analyse the hypothetical position of Red Zora within the Croatian canon of children’s literature established at the time the novel was written. Red Zora tends towards realism in shaping children’s reality based on unusual adventures in common with the most dominant of children’s novels so that it fits into the contemporary novelistic matrix, however with a distinctive detail – a girl as “gang leader” – which goes beyond the trends of Croatian children’s literature of the time. The paper considers the hypothetical question of the possible influence of the novel on the development of Croatian children’s literature regarding the construction of the female character.

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Slikovnice kao uzdarje za milodare: Hrvatski tjedni majke i djeteta 1940-ih

Author(s): Berislav Majhut / Language(s): Croatian Issue: 02/2022

The Dusty Covers section presents some of the smallest Croatian picturebooks ever published, almost completely forgotten until the present day. Three series of booklets were issued as charity tokens by a Croatian government department in the first half of the 1940s. Berislav Majhut reveals the circumstances of their appearance, and describes their function and history. Facsimiles of 16 out of the total of 22 booklets are reproduced.

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Jak folk pamięta o folklorze? Uwikłania wyobraźni w pamięci i mitach o kulturze ludowej

Author(s): Paweł Mirowski / Language(s): Polish Issue: 3/2022

This paper highlights the phenomenon of folk music in terms of a medium of cultural memory. The imaginaires about it are based on the Slavic and folk myth which shaped the forms of expressing folklore over the past two centuries. It is an attempt to switch the discussion from whether folk is able to have a positive influence in traditional folklore preservation, into the sphere of the identitiy issue. Folk music does not necessarily have to evoke the established Polish identity related to folk culture, but it gives an immediate sense of community, at supranational level, including the interslavic one.

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Poezja, sztuka i antropocen.Susan Schuppli i Kacper Bartczak

Author(s): Anna Kałuża / Language(s): Polish Issue: 31/2022

The aim of the article is to outline the basic critical possibilities that visual and linguistic art can have in the world of anthropocene. Referring to, among other things examples of the so-called slick images by Susan Schuppli and poems by Polish poet Kacper Bartczak I look at images in digital and poetic media. I am interested in the differences between an artistic activity in which inhuman actors play an important role and one in which the main initiator is still a human being, trying to place human language and human artifacts in the network of biological-technological transformations.

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La figure de l’artiste dans la littérature française ultra contemporaine : de l’analyse thématique vers le portrait de l’homme

Author(s): Adriana Lastičová / Language(s): French Issue: 2/2022

This paper aims to contribute to the study of the figure of the artist through thematic analysis of several recent texts published in French. The author examines the main themes linked to the artist-protagonist, classifies them in hypernymic categories and shows that in the works of some contemporary French authors (Houellebecq, Grainville, Gailly, Le Guillou) the figure of the artist loses its romantic features, inherited from the artist novel of the nineteenth century and increasingly takes on anthropological dimensions to convey the values of the human quest. According to the author, hermeneutic interest in these works should consist in deciphering their full potential in terms of meaning beyond the surface of the artist novels.

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Pracowite dno sadzawki. Socjologia moralności a literatura piękna

Author(s): Krzysztof Sztalt / Language(s): Polish Issue: 13/2022

Krzysztof Sztalt’s aim in this article is to highlight the cognitive values of literature in the field of morality and axiology. He begins by listing the functions of literature and emphasizing the cognitive function. He goes on to indicate the differences between literary and scientific cognition. He then considers the possibility of focusing, during the process of the cognition of literary works, on moral and axiological problems. Addressing these problems he cites a specific literary examples. He argues that pre-sociological literary cognition can be no less valuable and important than sociological cognition. In his opinion, both forms of cognition complement each other.

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1960. aasta laulupidu Kodu- ja Välis-Eesti lähendaja ja lõhestajana

Author(s): Aigi Rahi-Tamm / Language(s): Estonian Issue: 1-2/2023

Khrushchev’s policy of building cultural relations with the West opened up a possibility for communication between Estonians home and abroad in the late 1950s. From the Soviet perspective, this contact was aimed at weakening the anti-Soviet attitudes of refugee organizations and splitting the community that fled to the West. As a consequence of the non-recognition of the annexation of the Baltic states, a portion of the community was determined not to visit their homeland until it was free. Another part, however, did not see much wrong with a trip to their native land. The disagreements and internal divisions of the community inspired the Soviet officials to influence the refugees in different ways. Making use of people’s homesickness and their wish to see friends and family, a number of people were selected for positive inclusion through cultural contact and other means in order to encourage other refugees to follow their example and change their behaviour and attitudes. The 1960 Song Festival seemed like a perfect opportunity to invite people to visit their homeland. The Festival was also meant to coax the acclaimed conductor and composer Eduard Tubin to visit Estonia. However, the Song Festival failed to activate communication to the desired degree and Tubin also refused to participate. The manipulation of Tubin, which focused on his professional motivation and connections with former colleagues and acquain¬tances, finally bore fruit in December 1961. The Ministry of State Security of the Estonian SSR considered this a breakthrough in changing the attitudes of the exiles, as the “emigrant leaders” reacted to Tubin’s visit with calls to refrain from visiting Estonia, which in turn sowed resentment among those who were looking forward to visiting their homeland and deepened internal contradictions. The debate that erupted around attending the Song Festival in Tallinn as well as Tubin’s trip to Estonia brought into view the fragmentation of the Estonian diaspora, the existential concerns of people living in exile that the Soviet authorities deliberately amplified in order to use them for their benefit through various influence operations.

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Social Critique of the Soviet Regime in Ivars Poikāns’ works from 1987 till 1990

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Social Critique of the Soviet Regime in Ivars Poikāns’ works from 1987 till 1990

Author(s): Agnese Zviedre / Language(s): English Issue: 01+02/2023

In recent years disability studies as an academic research field and a critical theory have emerged in Latvia, focusing on disability laws and regulations in Latvia (Kulačovska, 2018; Baikovska, 2019), employment issues (Broka, Mihailova and Demme-Vimba, 2017) and representation in mass media (Lūse and Kamerāde 2014). However, art and visual culture are still largely unexplored, especially art created during the Soviet period. This raises questions: How was the diversity of bodies represented during the Soviet times? Did the representation also include people with disabilities and, if so, how were they represented? The article analyses the Latvian artist Ivars Poikāns’ works from 1987–1989 from the disability studies perspective. Focusing on the depiction of the body and social and political narratives, the text investigates body representation in Soviet Latvia, artistic ways of protesting against the regime, and whether the artist used disability as a metaphor or form of activism to support civil rights.

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BEYOND IDEOLOGY: RELIGIOUS THOUGHTS AND CULTURAL PRACTICES IN LETTERS BETWEEN FENG ZIKAI AND MASTER GUANGQIA IN SOCIALIST CHINA 1950s–1970s

Author(s): Qilin Zeng / Language(s): English Issue: 4/2022

The letters between Feng Zikai and Master Guangqia after 1949 in socialist China complicated interaction among religion, the self, and the world, and during this period waves of literary and artistic practices emerged that sought to identify individual options in the face of the atrocities. Feng’s religious-cultural practices, overseas interactions, and his letters in the 1950s–1970s in my paper would be regarded as a set of values or a structure of feeling that registered a social episteme. The years 1949–1975 were a period when the cold war took place and Feng kept close relationships with intellectuals from Hong Kong, Singapore, and Japan. This paper examines him in the transnational framework, and studies communist cultural and diplomatic policies as well. Therefore, this paper will focus on the letters between Feng and intellectuals from abroad, to explore the issue of how the religions, overseas publications and cultural practices helped Feng Zikai expand his ways of culture expression. Besides, this paper intends to investigate how Feng succeeded in retaining the continuation of Master Hongyi’s religious thoughts in socialist China during the 1950s–1970s.

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AN EXPERIMENT FOR THE MARKET: THE INTERTWINED RELATIONSHIP BETWEEN ARCHITECTURAL AUTONOMY AND THE MARKET FORCE IN CONTEMPORARY CHINA

Author(s): Kunzhe Kang / Language(s): English Issue: 2/2023

In contemporary China, ‘experimental architecture’ depicts the rise of independent architectural explorations offered by a group of young Chinese architects in the mid-1990s. These young Chinese architects claimed to have established an autonomous architecture, distant from commercial interventions. This research examines the credibility of architectural autonomy stated by these architects in light of the field theory put forward by the French sociologist Pierre Bourdieu. Through this interdisciplinary perspective, the paper focuses on the often overlooked interpersonal networks of critics, architects, and publishers. Through analysing their roles in promoting these experimental architects on the basis of professional publications, this research argues that the notion of architectural autonomy is constituted by a symbiotic collaboration among these actors through a discursive approach and architectural autonomy, despite indicating an architectural resistance against commercial forces, serves a commodity sold in the cultural market.

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Psihopatija – operativni sustav političke pozornice digitalne kulture

Author(s): Leo Katunarić / Language(s): Croatian Issue: 22/2023

Modern political interfaces are increasingly using linguistic circuits that call for the reshaping of reality instead of traditional promises to upgrade the collective vision of reality. Discourse is renewed by registers from the performance interface, especially artistic performance, which naturally creates a reality intertwined with realities. The culture of deliberately created fake news, the deep unreal, and the canceled culture positions digital culture as an extension of traditional human social tools to create closed circles of ideologizing reality. There is a new discourse at work, archiving data as objects to which metadata is attached as, for example, a public performance pattern. Once activated, such objects can act in human physical reality by playing the role of public performance. In reality, they are like the language structure used by psychopaths or sociopathic groups. It is a language without an original and a goal, a language of constant adaptation to the action of creating and maintaining an interface in which the psychopath could function smoothly. That is why there is an interesting emergence of new forms of artistic performance, such as nft (non-fugitive token) that use both human and digital, bitchain, interfaces to stop the constant collapse of reality into its own instability. Is this a subversion that is always expected in situations where the system is petrified and how is it that such an action occurs as a machine-produced artistic language?

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Brisanje kao jezik uspostave post-humane kulture (Izbrisano u Muzeju suvremene umjetnosti Zagreb 2022.)

Author(s): Leo Katunarić / Language(s): Croatian Issue: 22/2023

Our age of digital culture is an explosion of the language of performance and spectacle, and the circulation of self-regulating meanings in all communicative social channels. The claim that identity is performance is long out of date. We have now turned the identity implementation into a manipulation object. For centuries, artists have used the language of theatricalization, excess, multi-layered meaning, and considered subversion a prerequisite for their performance. Such a register is everyday today. Could that be why the linguistic register of scientific research, the discourse of cold laboratory analysis, can become the artistic language of performance of the new era. Is our present-day subversion of the hallucinatory system of data expansion performed in the language of scientific research? The wild dance of the shaman was translated into the language of programming and analysis. I started such a new possible reality of artistic identity as a scientific research, and ended as an artistic project of polyphonic form performed in the Zagreb Museum of Contemporary Art. The project was developed with the language codes of a scientific laboratory through which a human performer negotiates with the machine gods to perform a common identity.

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