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TÉMA: HOLOKAUST

Author(s): Jana Hanzelova / Language(s): Slovak Issue: 02/2016

This study focuses on the reflection of the theme of the Holocaust in selected theatre texts which have appeared on Slovak stages after 1989 (Rastislav Ballek and Martin Kubran’s Tiso, Anna Grusková’s Rabínka [The Rabbi], Viliam Klimáček’s Holokaust [The Holocaust], Elfriede Jelinek’s Rechnitz). By analysing these productions, the author explores the possibilities of the aesthetic representation of a traumatizing past, both at the level of text and stage performance. The artistic coming to terms with the Holocaust is assessed with regard to its socio-political impact on the recipient of the work.

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ГОРОД-САД: АЛЬТЕРНАТИВНАЯ КОНЦЕПЦИЯ ФОРМИРОВАНИЯ ГОРОДСКОЙ СРЕДЫ

Author(s): Ekaterina Sergeevna Kotova / Language(s): Russian Issue: 3/2014

The article examines the development of the urban concept of "Garden-cities" created by E. Howard, and the reflection of this concept in the Russian architectural projects. The author attempts to reflect the conversion of the "garden-city" concept from the specific characteristics of urban development projects to the metaphor or the title. On the example of the transformation of Omsk in the "garden-city" the author reveals the relationship of the propaganda of "green building" with the landscape gardening management.

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Московский международный кинофестиваль на страницах журнала «Советский экран» (1959-1969 гг. ): гендерный анализ

Author(s): Natalia G. Jidkova / Language(s): Russian Issue: 2/2014

The article considers the ways of Moscow International Film Festival representation rules change in 1960s in «The Soviet Screen» («Sovietski Ekran») magazine pages. The author analyzes the interconnection between the official authorities’ attitude towards the event, and visual and verbal canons of masculinity and femininity in the pages of one of the most popular magazines devoted to the cinema in the Soviet space.

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FİGÜRATİF SOYUTLAMA ANLAYIŞINDA YAPITLAR ORTAYA KOYAN CUMHURİYET SONRASI DÖNEM TÜRK HEYKELTIRAŞLARI ÜZERİNE BİR DENEME

Author(s): Bilal Hano / Language(s): Turkish Issue: Special/2016

Art is demontrative means of measure of dominance of whole of material and moral values that made up through development process of communities. Features of nature people live in, needs of human being and human being nature relations, birth-death reality and after death life beliefs have important roles in formation of culture. In this context, figurative abstraction approach had taken a start in the Archaic periods and this view evolved through several processes and from the by end of XIX. century to nowadays had been produced from different construals by artists, within alignment of human being and nature.

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FILTERED VIOLENCE: PROPAGANDA MODEL AND POLITICAL ECONOMY OF THE INDIAN FILM INDUSTRY

Author(s): Azmat Rasul / Language(s): English Issue: 2/2015

Production, distribution, and consumption of cinematic violence raises several questions of academic import. Despite a plethora of research studies exploring the nature of screen violence and its effects on viewers, a serious debate on the influence of state machinery on the production of sanitized violence in movies is still wanting. Likewise, Bollywood’s role in advancing the Indian government’s agenda in war and peace times has been paid petite attention in academic discourses dealing with media-state interconnection. This article explores the relevance of Herman and Chomsky’s propaganda model as a framework for analysis and analyzes Bollywood’s movies based on stories of violence in war and peace times. The article discusses the connections with the Indian state apparatus that influences production processes in the Indian film industry by providing financial assistance and applying multifarious political, social, economic, and ideological pressures (filters). The findings suggest that the Bollywood movies support diplomatic initiatives of the Indian government through cinematic narratives of sanitized violence.

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AN ESSAY ON ACTOR, ACTRESS IN TURKISH CINEMA, HUMAN ANS SECTOR ETHICS IN THE 21st CENTURY

Author(s): Nevin Algül / Language(s): English Issue: 1/2015

Introduction of cinema to Turkey has gone through a rapider progress than that of printing and cinema has become very popular in Turkey. Cinema has contributed positively to this rapid progress thanks to its nature. It stimulates more than one sense conveying several things at one glance and alternating in between dreams, imagination and life’s realities and therefore it is desired greatly…

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Utwór „epoki intertekstualnej” – III Symfonia „Circus Maximus” Johna Corigliano

Author(s): Katarzyna Bartos / Language(s): Polish Issue: 01 (32)/2017

As many researchers claim, we live in the era of intertextual works. The analysis of the 3rd Symphony “Circus Maximus” by the American composer John Corigliano definitely proves this statement. The sym- phony, finished in 2004, had been commissioned by Jerry Junkin – the conductor of the Wind Ensemble and Director of Bands at UT Austin. It is said to be an example of program music. Corigliano’s main purpose was to show connections between the past (Rome Empire) and the contemporary world. The composer notices that animalisation and coerciveness are characteristics of people living in these two eras. The composition consists of eight movements and is written for wind ensemble and percussion. The aim of this article is to show intertext- ual connotations and references present in the composition, such as: allusions, stylization, reminiscences, and memory of genre. In order to achieve this aim, the author used the Mieczysław Tomaszewski’s systematics of music-in-music existence. Moreover, similarities to Gustav Mahler and Charles Ives’ compositions are shown.

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NIKOLAI RUSCHUKLIEV’S SELF-PORTRAIT – SEMANTIC DYNAMICS

Author(s): Bogdan Aleksandrov / Language(s): English Issue: 1/2017

Self-portraits dominate the work of the artist Nikolay Ruschukliev. The text analyses the stages which the genre preferences characteristic for this artist go through in the context of the relationship between self-portrait and the concept of life’s meaning and changes in its content. It also traces how the artist manages to commit to his conscious choice permeating his whole existence to create self-portraits and his reasons for having the "meetings" with himself. It is an attempt to answer questions posed by the paradoxical inverse relationship between the size of the synthesised messages to the world in which the artist lives and his ability to give sincere and honest answers to simple questions addressed to and from his self. Addressed are the issues how the ideologically provoked thresholds in life after filtering are transformed into an act of defence of personal truth, and why that very "self-awareness" is the necessary prerequisite for the achievement of this truth. The idea sustained is that the self-portraits of Nicholay Ruschukliev may be the key to understanding its transformation into genuineness about the world ... whereas the viewer who has touched this world "sinks" in the reflection of their own emotions, feelings, desires and fears.

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Павел Генадиев. Кратки характеристики и спомени за художниците – сътрудници в списанието ми „Художник“.

Author(s): Nikolay Poppetrov / Language(s): Bulgarian Issue: 5-6/2017

Book Review

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Российская художественная интеллигенция и думская практика 1906—1907 годов

Author(s): Alexei Vyacheslavovich Zyablikov / Language(s): Russian Issue: 2/2019

The changed political reality — the establishment of the State Duma in Russia in 1906 — made active a public discussion about a ratio of guarding and liberal elements in business of the state arrangement. The idea of naturalness and «the rule of law» of the autocratic power found unexpected refraction in consciousness of the art elite trying to comprehend the value and functions of new political institute, to understand a measure of its historical correctness. Based on the principles of historicism and system, applying tools of historical-genetic and historical-comparative methods, the author reveals evolution of perception by artists and literature of realities of the Duma practice of 1906—1907. Interest in new state institute in many respects was defined by hopes for civil consent, political and cultural and moral improvement of the Russian life. One of the main functions of the Duma seemed to artists in peacemaking and search of conciliatory line between various political forces and opinions, at unconditional respect for traditions of the Russian statehood, religion, culture. Without denying importance and political importance of new institute, figures of the Russian culture noted such evident qualities of the Duma practice as tendency to a phrase mongering and “theatrical” effects, inability to offer a part of political ambitions for the sake of nation-wide need, the aspiration to approve a policy priority over culture, claims for spiritual one-man management. Moderate conservatives (Octobrists) who could undertake search of balance of interests were slow and shy. The increasing public skepticism concerning opportunities of the State Duma to become the instrument of national reconciliation and consent became a result of the Duma impressions of 1906—1907.

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XII Комуникационна и медийна конференция за Централна и Източна Европа (CEECOM 2019)

Author(s): Kalin Kalinov / Language(s): Bulgarian Issue: 5/2019

12th Central and Eastern European Communication and Media Conference (CEECOM 2019), from 19th to 21st June, 2019. The focus of CEECOM 2019 was the strategic and practical aspects of managing communications, thus establishing a wide interdisciplinary foundation for works in the field of communication, media studies and political sciences. The aim of organizations was to bring together a number of scholars with diverse backgrounds to exchange ideas regarding the present and the future of communication endeavors.

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Класика світової драматургії на китайській сцені XX ст.

Author(s): Li Zhenxing / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. The purpose of the work is to find the generalizing features and trends of the appeal of the Chinese drama (spoken) theatre to the works of classics of the world drama - W. Shakespeare, H. Ibsen, A. Chekhov in the status of objects of artistic reception, as well as to find their alterations in the concrete and historical context of cultural life and society. To generalize the reasons for expanding the circle of authors of world literature and outstanding playwrights for a more reliable and full coverage of the influence on Chinese drama and "spoken" theatre. Methodology. The methodology of research, first of all, lies in applying comparative and historical-logical methods. The given methodological approach allows us to disclose and analyze the certain patterns of applying ideas and images of Russian and Western literature about the ideological models of Chinese society in specific historical conditions; these models being close to the relevant plot motives and ideological sources of a certain period. Scientific Novelty of the work is to expand the notion of the influence of classical world drama on the repertoire and the means of interpreting the plays by the new theatrical troupes of China. In particular, the differences between the "spoken" theatre and the "Beijing Opera," as well as the ways of the formation of the national theatre, considering the influence European dramaturgy - from Shakespeare to Chekhov. Conclusions. It is important for perception problems of a translated text of the work of art in a different cultural environment, that receptive aesthetics accentuates the question of historicism and social principles of this interpretation - in literature and drama, and in the theatrical culture in general. It is proved that in the mentioned period of time there was a transition in Chinese drama from the legends of xi qu theatre to the real life of a man. That is, Chinese playwrights have learned from the classics to create true, viable models of plays, to combine drama and lyricism together, to create new types of characters, a special genre of "lyrico-psychological drama." At the beginning of the XX century, the educated youth refused to adopt the norms of behavior determined by Confucian ethics; the adherence to well-doing, the external standards of decency and the family farm management were gradually becoming obsolete. This circumstance can be vividly illustrated by the reaction caused by the play "A Doll's House" by Henrik Ibsen when the female movement in China began to be called "Noraism" after Nora - the protagonist of this play.

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Поєднання традиційного (архаїчного) та інноваційного в сучасній українській хореографії

Author(s): Liudmyla Francivna Khotsianovska / Language(s): Ukrainian Issue: 40/2018

The purpose of the article. The features of the combination of traditional and innovative elements in modern choreography and their main stages of formation are considered in the report. A striking example of this synthesis is the so-called folk trends that meet current requirements, while at the same time retaining the hallmarks of national traditions. Methodology. The methodology of research consists in application of art-criticism, comparative, historical and logical methods. The novelty of research. The genre varieties of modern choreography are found out, and the transformation of traditional symbols in them is noted. In choreographic art, as a developing process, there are two components; stable - a cultural tradition and innovative - updated and enriched in the form and content of new artistic discoveries. In today's conditions, the danger of the loss of a rich heritage of folk art, traditions of folk folklore in all its genre diversity is becoming more and more understood. Conclusions. The innovative approaches to the teaching of classical dance are highlighted, the effectiveness of which depends directly on the teacher's knowledge of modern technologies and their ability to correctly and timely apply, taking into account the structure of the lesson, the selection of material for a particular topic, the choice of educational line and the construction of educational process.

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Культурні пріоритети сучасної студентської молоді України: особливості релігійного, естетичного, мистецького і літературного вибору

Author(s): Aleksandra Ruslanivna Havelia / Language(s): Ukrainian Issue: 3/2018

Purpose of the article is to establish the relationship between the ideological identity of the modern student youth of Ukraine and its relation to religious, literary, artistic and aesthetic values. Methodology. The study is based on the interdisciplinary integration of methods of a multidisciplinary combination of religious studies, art studies, cultural studies, and sociology. With the axiological approach, the results of the analysis of cultural-artistic and religious factors, which determine the formation of the original outlook of Ukrainian student youth, were studied and summarized. Scientific novelty of the research is the presentation of the author's philosophical, conceptual approach to establishing the relationship between the worldview of modern student youth of Ukraine and its relation to religious, literary, artistic and aesthetic values. By the study of the cultural priorities of contemporary student youth, the author first identified the tendency for most respondents to focus on the Christian axiology, which is determined by their Ukrainian outlook and depends on their attitude to religion and the frequency of attending the church. Conclusions. The study of the religious, artistic, literary and aesthetic choices of student youth has shown its predetermination by the intellectual features of higher education graduates, their level of competence in the cultural and artistic branch of knowledge and Christian doctrine. The results of the study made it possible to find those unchanging, essential features that make it possible to speak of a single cultural phenomenon that appeared in specific common religious, artistic, literary and aesthetic priorities and values of contemporary student youth.

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Mузиката за народа на медийния фронт: погледи отдолу-нагоре

Author(s): Ventsislav Dimov / Language(s): Bulgarian Issue: 6/2019

This article looks for an answer to the questions how specific media and musical texts and figures (scripts, shows, songs, singers, hosts) are perceived by the audience, i.e. reception. How power narratives, reflected in media and music, and power media practices take on a life of their own, outside of media context and channels from top to bottom – folklorization. How low media-musical idioms, which can be in dissonance with the official ones, flourish from the bottom to the top. Several cases related to the media reception of folk singers (Petkana Zaharieva, Mita Stoycheva, Gyurga Pindzhurovа) and their newly created songs are considered.

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Archaic Dance: Initial Forms and Modernity

Author(s): Tetiana Oleksandrivna Kaznacheieva / Language(s): English Issue: 1/2019

The purpose of the article is to consider genesis and specific peculiarities of certain traditions of the archaic and ethnic dance forms, which have survived till the present. Scientific interpretation of the specific internal connections between different constituents of song-dance genres and mass ritual performances allows to ascertain prerequisites of formation of music and dance professionalism within them. The methodology. Historical and culturological, comparative and analytical methods have been applied to characterize archaic public song-music-dance forms, which in conjunction with various ritual tendencies anticipate the origin of phenomenon of music and theatre performance. The scientific novelty of the work lies in understanding of the problems of preserving certain archaic dance forms in modern household, ritual traditions of various peoples as a unique phenomenon of spiritual culture, implementing continuous connection of times and preservation of deep ethnic traditions. Conclusions. Consideration of different forms of archaic dance, which have survived till the present in different genres and manifestations, allows to characterize their as a unique means of human selfknowledge and self-expression. Music, mimics, gesture and dance movements are the only elements of stage adaption of initial magical ritual. Moreover, many forms of archaic dance continue to realize esthetic and even social and cultural function despite the processes of globalization in modern world culture.

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The Holocaust Theatre in Romania (1941-1958)

Author(s): Mihai Lukács / Language(s): English Issue: 12/2019

In the late 1940s, the Jewish theatre initiated the so-called performative reflection on theHolocaust in Romania, at a time when this art form simply did not exist internationally.This was possible due to the specific situation of the Yiddish theatre in Romania, includingthe large Jewish audiences which were familiar with progressive plays referring to actualissues of the Jewish community. Beginning with the IKUF Theatre, under the managementand directorship of Iacob Mansdorf, in 1945, the Yiddish theatre displayed the devastatingresults of the Holocaust upon the Jewish communities and tried to provide an artistic formulaso as to respond to the political necessity of condemning fascism, in anticipation of a worldin which anti-Semitic atrocities were no longer possible. One such plays was Night Shift (thefirst performance staged by the newly established State Jewish Theatre in 1948). Followingthe tradition of Abraham Goldfaden’s theatre from the end of the 19th century, the Holocausttheatre made use of various aesthetic and narrative, innovative forms, from Stanislavski’srealism to Brecht’s techniques, but all this faded away in the late 1950s.

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Forum Julija Cezara u Rimu u funkciji kulta ličnosti

Author(s): Marko Marušić / Language(s): English,Serbian Issue: 9/2019

Tema ovog rada tiče se arhitektonske transformacije grada Rima i prihvatanje helenističkih tekovina u arhitekturi u vreme diktature Julija Cezara, a na primeru izgradnje Cezarovog foruma. Proširenje foruma, kao najznačajnijeg društvenog, političkog i kulturnog centra grada Rima, predstavlјa značajan korak u njegovoj graditelјskoj transformaciji. Arhitektonski, Cezarov forum je prostor ograđen tremovima sa korinstskim stubovima, Cezarovom konjaničkom statuom i hramom Venere Pramajke, koja se tradicionalno vezuje za rod Julijevske dinastije. Julijev forum je ujedno predstavlјao odraz Cezarovog političkog uspona i gotovo kultnog statusa stečenog u toku i nakon građanskog rata. Po njegovom uzoru, potonji rimski carevi gradili su forume zasnovane na sličnoj aritektonskoj i ideološkoj koncepciji.

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GÖZETİM TOPLUMU ALGISINA SANATSAL TEPKİLER

Author(s): Reyhan Uludağ Eraslan / Language(s): Turkish Issue: 43/2019

The roots of "surveillance", one of the most important tools of the governments for centuries, date back to very old times. Its major impacts, however, have begun to be deeply felt in modern times. Parallel to the development of nationstates and large-scale bureaucratic organizations in particular, surveillance has also become widespread. In the twentyfirst century, contemporary metropolises are exposed to a constant visual electronic surveillance under the name of security and public safety. In this context, we all are now constantly being watched in public spaces by invisible audiences behind MOBESE cameras. The basis of this system which proposes the control of society by force is based on Jeremy Bentham's Panopticon design. Today, Bentham's eighteenth-century design, Panopticon, is now intertwined with urban scales and replaced with electronic surveillance cameras. The surveillance towers and guards at Panopticon correspond to the central control rooms and the cameras, respectively. The ordinary citizen is being watched through cameras by invisible guards; but the observers are made invisible. Artists have responded to the aspirations of public surveillance by means of their works of art as well. In this article surveillance that's changed gradually in terms of physically and dimensionally which has all the way changed our physical and social life up to the present time, and the aspects are analyzed along with the related works of selected examples of arts so far.

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The Modification of the Genre of Mystery Play in the Wagner’s, Schoenberg’s and Messiaen’s Compositions

Author(s): Nana Katsia / Language(s): English Issue: 03 (34)/2017

The purpose of my paper is to reveal the main features of the mystery genre in the European musical culture of the 19th and the 20th century on the basis of the genre features established in the Antiquity and the Middle Ages.The mystery play genre, as we know, in essence means the firm unity of certain stable features. The complexity of those features consists of two specific elements—religion and social, and a general one—the model of the world for a certain epoch.If in the mysteries of Ancient civilizations and the Middle Ages, the aforementioned components operated as a firm unity of inseparable elements; later, in the period after the “new times”, especially at the end of the 19th century and in the 20th century, the stable elements were disintegrated from each other. This process is discussed on the examples of the following operas:• The common religion and ethical model—Wagner’s Parsifal;• The code of moral rules and principles in the social context—Schoenberg’s Moses und Aron;• The explication of Thomistic ideas in the modern world—Messiaen’s Saint François d’Assise.What is outlined is the unity of necessary components of the genre of the mystery play: multidimensional sources of libretto; a mission of the main hero; the author’s interpretation of the mystery; the abundance of ritual scenes; the relationship between the internal and externaldramaturgical processes; synthesis of the different theatrical genres; static dramaturgy. All of these features suggest a specific type of musical main mystic spheres: divine, terrestrial and demonic. Consequently, the dramaturgy of opera staging has three levels of activity: superficial, inner and upon time.

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