"The Message of Protest”: Artistic Expressions of Punk / Hardcore Subculture Ideas

Author(s): Reda Šatuniene / Language(s): English / Issue: 1/2008

Nekomerciālā panku / hārdkora subkultūra izveidojās no britu pankiem un amerikāņu hārkora 20. gadsimta septiņdesmito un astoņdesmito gadu mijā. Galvenās panku / hārdkora subkultūras iezīmes iemieso pankroka brīvības, kritiskās domas un vienlīdzības principus. Lietuvā daudzas jauniešu subkultūru paražas ienāca pēc valsts neatkarības atjaunošanas 1990. gadā. Raksts pievērš uzmanību nekomerciālās panku / hārdkora subkultūras idejām un vērtībām, kādas ietvertas lietuviešu trafaretu mākslā. Raksta empīriskais materiāls ir savākts, pateicoties atbilstošai metodoloģijai un kvalitatīvam (etnogrāfiskam) lauka pētījumam, kas veikts 2005.-2007. gadā. Raksta autore secina, ka panku / hārdkora subkultūras idejas - protestēšana pret "Sistēmu", ekonomisko un politisko uzkundzēšanos, patērētājfilozofiju, konformismu un starptautiskajām aliansēm - izpaužas trafaretu mākslā. Tā atklāj globālās un vietējās sociālās, politiskās un ekonomiskās aktualitātes.

100 години професионален оперетен театър в България. Постановъчно-изпълнителски опит и репертоарни тежнения

Author(s): Rumyana Karakostova / Language(s): English,Bulgarian / Issue: 4/2018

This paper intends to sum up, from a contemporary critical perspective, the cultural significance of various periods of the centenary history of Bulgaria’s professional operetta theatre, focusing on the social function, the institutional and aesthetic physiognomy of Sofia-based leading private operetta companies in the interwar period and its only genre-profiled National Musical Theatre as their direct successor, which this season marked its seventieth anniversary. The main problematised assumption is that the marked trends in the repertoire polices, stage and performing practices in the centenary development of operetta art on Bulgaria’s professional stage can only be correctly brought forth on the basis of a scientifically objective, rationalised both by the dynamism of historical events and the respective shifts in the sociocultural paradigm and the topical critical reflection.

17. VE 18. YÜZYILDA FLAMAN RESİM SANATINDA AVCILIK NATÜRMORTLARI

Author(s): Onur Karaalioglu / Language(s): Turkish / Issue: 48/2018

With the enlightenment process triggered by the Renaissance movement in Europe, the rebellions against the feudal system and the dogmatism of the church became widespread with Protestantism and accompanying Kalvinism, and the process of renunciation of church from the worldly affairs was accelerated. While rapidly developing trade in the Netherlands provide the emergence of new rich people, the feudal system gradually left its place to the free market lords. The religious, economic and social changes that shaped the 17th century Holland also influenced the field of art and the artist has been obliged to turn to non-religious issues by strictly forbidding the portrayals of the places of worship where the artists provide for their lives with the portrayal of sacred scenes. While the increase in the number of capital powers who want to embellish their own private space expands the repertoire of the artists, still-lifes that seems like independent of all kinds of intangible judgments has gained a great popularity in the 17th century Holland. The hunting still-lifes that emerges in an environment where the bourgeoisie invests in artisans and traces of the natural beauty of the Netherlands has also turned into a demonstration of social status as a species where the messages take place about wealth and life views of the orderer. The hunting still-lifes which turned into a show of power that threatens its opponents with its rich content, act as a mediator heralding of the salvation of the Hereafter, moving from the attitude of Christianity blessing the richness.

21. YÜZYILDA GİYİLEBİLİR SANATIN ÖNCÜ MODA TASARIMCILARI

Author(s): Nursen Geyik Degerli / Language(s): Turkish / Issue: 51/2018

Clothing came out as a result of human being’s struggle to protect himself physically against varying conditions of nature. Wearing took shape by traditions till 16th century and affected by new fashion movements created by mid-class society dominating social events during 17th century. Brit, Charles Frederick Worth (1825-1895), was “the first fashion designer” who changed the rules of tailoring and opened his own fashion house in Paris to sell his designs during 19th century. He claims that “his hand-made belly stitch worths a valuable oil painting” and reflects his signature to his designs those express his passion and art. “Artwear” or “Wearable Art” was first pronounced in 1970’s, and then positioned in fashion and art platforms during 80s. In this article; interactions in between fashion and art, fashion designers influenced by art movements during last century and wearable art works of fashion designers of 21st century are analysed. Fashion designers of 21st century are pushing the boundaries of creativity to generate variety of wearable art designs by binding technology transformation and handcrafting. It is a strong sign and evidence that wearables may be art works and we started to see them in art galleries or exhibitions.

A Diptych of Spiritual Maladies in Cinema: From Nostalgia (Andrei Tarkovsky) to Melancholy (Lars von Trier)

Author(s): Ruxandra Cesereanu / Language(s): English / Issue: 1/2019

This essay aims to assemble (palimpsestically) the visions of several art creators on melancholia and nostalgia. It also undertakes a brief foray into the history of art and film by reference to several influential names: Andrei Rublev, Gian Lorenzo Bernini, Albrecht Dürer, John Everett Millais, Andrei Tarkovsky and Lars von Trier. Moreover, it examines one of Andrei Rublev’s prominent works, The Holy Trinity, and Dürer’s Melencolia I (1514), a remarkable engraving from a visual and intellectual point of view. In cinema, the option for the visions of two directors (despite their differences of style, ideas and generations) is linked to the core representation of nostalgia and melancholia in Tarkovsky’s film, Nostalgia (1983), adjacent also to The Sacrifice (1986), and in Lars von Trier’s Melancholia (2011). The analysis proposed in this essay resorts to the ancient philosophical conception on melancholy, as well as to the interpretations on this theme provided by modern scholars, such as Sigmund Freud, Fritz Saxl, Erwin Panofsky, and Raymond Klibansky. The same goes for nostalgia, even though this a pre-modern concept.

A Forgotten Manuscript from the Slavonic Collection in the Russian National Library

Един забравен ръкопис от славянската сбирка на Руската национална библиотека

Author(s): Elissaveta Moussakova / Language(s): English,Bulgarian / Issue: 1/2018

Until recently the Gospel manuscript from the Russian National Library in St Petersburg, MS Q.п.І.3, now dated to the mid-14th century, was almost not known. It was found that its teratological headpiece on f. 85r is similar to a headpiece in the Four Gospels NBKM 1356 of about the same period. The compositions, though stemming from a common prototype, differ in their details. Being found in manuscripts of obviously different origin, they bring forth a number of issues such as the attribution of the two South Slavonic Tetraevangelia, their interdependence and relations with manuscripts and centres where the model patterns were used and copied in three 17th-century illuminated Gospels.

A Group of Reliefs from the Mramba Village (the Republic of Abkhazia): To the Question of Dating

Author(s): Ekaterina Endoltseva / Language(s): English / Issue: 1/2019

Article deals with a group of reliefs from the church in Mramba village. Their were dated by the paleochristian period. New findings of the last ten years permit to adjust this version. They can be now referred to the Medieval period (10 – 11 century).

A Portuguese Salver in Sofia

Едно португалско блюдо в София

Author(s): Georgi Parpulov / Language(s): English,Bulgarian / Issue: 1/2018

Inv. No. 3339 in the collection of the National Archaeological Museum (Sofia) is a dish, or salver, made of parcel-gilt silver with chased relief decoration and an embedded enamelled roundel. Close parallels with other vessels of the same type show that this salver was produced in Portugal and dates from the second half of the fifteenth century. It is one of the earliest known examples of wild men imagery in Portuguese silverware.

A Turn to Fratres Minores. The Franciscans in 13th-century Lesser Poland and the patronage of Duke Boleslaus the Chaste

Author(s): Piotr Pajor / Language(s): English / Issue: Special/2015

The time around the middle of the thirteenth century was a period of popularization of the mendicant orders in the whole of Central Europe including Lesser Poland, which was one of the duchies existing after the feudal fragmentation of Poland. The Franciscans in particular, who arrived in Cracow during the apostolic mission led by the Saxon province, were quickly taken under the patronage of Duke Boleslaus the Chaste, who founded a church as his mausoleum in Cracow, although his predecessors were buried in Cracow Cathedral. The duke also founded cloisters in Nowy Korczyn and Zawichost; his sister, Salomea, became the first Polish St. Clara’s nun; his wife, Kunegund of Hungary, as a widow established and joined the convent in Stary Sącz. In this way Franciscans became the most important order, protected by the local ducal family. The same process took place in other Polish provinces and had significant consequences. For instance, in Silesia the local branch of the Piast dynasty was strongly connected with the Cistercians, but Duke Henry the Pious and his heirs of the Wrocław throne were buried in Franciscan churches. This turn to the Mendicants in the Piast dukes’ patronage seems to be much more complex than in, for example, Bohemia. In Lesser Poland this phenomena is even more visible because of some extraordinary examples, such as the central—Greek cross—plan of the Franciscan church in Cracow or the relocation of the first Clarissan cloister from Zawichost to the isolated site near the former castle of Scala. Comparative analysis of the role of the Franciscan cloisters in Boleslaus the Chaste's patronage and propaganda will be the main subject of the paper.

ABJECT (İĞRENÇ) BEDEN OLARAK RUSALKA: SLAV DENİZKIZLARININ EDEBİ VE SANATSAL TEMSİLLERİ

Author(s): Duygu Özakin / Language(s): Turkish / Issue: 25/2019

Positivist thought that defines female body as an unpredictable, overflowing the boundaries area of liquids and fluids, reproduces and consolidates the beliefs of the mythical system that is claimed to be located on the opposite side. Among these beliefs, the ones associated with the water, fluidity, humidity, darkness, lubricity of the feminine uncanny powers are reflected on the traditional and modern art works aesthetically, they were subjected to a taming by the transformative power of representation in art. One of these uncanny powers, rusalkas correspond to mermaids in Slavic mythology. They are the spirits of the untimely dead women, objects of fear but at the same time considered as symbols of fertility by virtue of their feminine nature. According to the belief, rusalkas kill male victims by drowning them to water; however, during the Rusalka Week, when they landed, they bring moisture and efficiency to the soil. This study aims to analyze the pushing of the female body to the periphery through post-structuralist theorist Julia Kristeva’s abject conceptualization. In the study, a Butlerian interpretation of the concept has been used in which being abject, overcoming its corporal definitions, gradually means being the other of society and related literary / artistic representations have been evaluated in this axis.

ADAPTACIJŲ STUDIJOS: ANALIZĖS METODAI IR VERTINIMO KRITERIJAI

Author(s): Migle Munderzbakaite / Language(s): Lithuanian / Issue: 96/2018

No matter what the intention of adaptation is – creation of it or an attempt to analyse it – Andreas Bazin is usually mentioned. Bazin was a French film critic and theorist. He initiated the famous film reflection magazine “Cahiers du Cinema” (first publication 1951) and wrote „Adaptation or the Cinema as Digest” (1948). In the article the author started talking about adaptations of cinema: the principles of creation, the position of text in relation with the new work, the meaning of adaptation and its impact on film audiences. While using an example of an exposition in a museum, he explains adaptation. We see selected collections of paintings in galleries but we do not doubt the value and originality of these works. Since the middle of the 20th century, the evaluation of adaptation, methods of analysis and access changed. With some reservations, however, the focus of analysis remains on the text (narrative of the adaptation work). This article presents the field of adaptation research, its trends, the dominant context for evaluation criteria, most commonly used methods and tools of analysis. Post-structuralism had a big influence on adaptation research. It “borrowed” some important ideas: the formation of the phenomena of intertextuality and intermediality and deconstructive access.

Ajaloolase kunst: märkmeid viiendalt Euroopa arhitektuuriajaloo võrgustiku (EAHN) kohtumiselt Tallinnas

Author(s): Reinhold Martin / Language(s): Estonian / Issue: 01+02/2019

Mul on suur au astuda teie ette Tallinnas, luhikese jalutuskaigu kaugusel (New Yorgi standardite jargi) Tallinna Reaalkoolist, mille mu isa Reinhold Martin lopetas 1942. aastal. Paratamatult peegeldab suur osa, millest ma plaanin raakida, seda transatlantilist perspektiivi: kuigi minu vaatepunkt jaab kindlalt New Yorki, siis selle isiklik ja ajalooline koondumispunkt paikneb siin Tallinnas ning koondub sundmuste ja ideede umber, mis on sundinud 20. sajandi keskel.

AKMONIA YÜZEY ARAŞTIRMALARINDA ELE GEÇEN TERRA SİGİLLATALAR VE GEÇ ROMA KIRMIZI ASTARLI SERAMİKLERİ

Author(s): Münteha DINÇ,Emre TASTEMUR / Language(s): Turkish / Issue: 3/2018

The ancient city of Akmonia is located in a high hilly area in the village of Ahat in the Banaz District of Uşak Province. Located in the center of Phrygia, the city dominates the plain of the large fertile Doiantos Pedion (Banaz Plain), which is irrigated by Kuruçay, one of the branches of Sindros. Acmonia is located in a central position from Sadeis to the east and from the south to the north. This position has led to the direction of trade on the Aegean coast and the Central Western Anatolia and as we have understood from the inscriptions, it has become a rich and prosperous city in this context.

AMERİKAN KİTLE İLETİŞİM ARAÇLARININ POP SANATINDAKİ ETKİSİ

Author(s): Bayram Dede / Language(s): Turkish / Issue: 49/2018

v Pop-Art came into being in America after 1950 and adapted itself to American life. Especially after the World War II, the deformation of old habits also affected art and the art took place beside this destruction. Pop-Art has kept a turning mirror in which the American industry has developed rapidly and the technology systems are constantly gaining momentum. This mirror constituted the new mode of production created by the industry, the new needs and the new human type. The pop-art artist has expanded dimensions of the art byusing consumer goods and industrial products (industrial wastes), which have become the identities of television stars and everyday American societies that have been admired by the society, as well as traditional art. By introducing ordinary, inexpensive industrial products into the magical world of art, they have added meaning and increased their value. While pop art is emerging as art, the products made have marketing possibilities. It is the purpose of this study how mass media influences pop art in America. Mass media is the main source of pop art. All the subjects chosen by the pop-art artist are images in the mass media, television, radio, magazines and newspapers. By interpreting and producing these images, they have given them aesthetic qualities. Pop Art has also enabled art to be updated and socialized by utilizing mass communication technology.

ANNA (ASJA) LĀCIS KULTŪRU UN IDEOLOĢIJU KRUSTPUNKTĀ

Author(s): Beata Paškevica / Language(s): Latvian / Issue: 2/2015

The article explores the course of formation of the positions of Asja Lācis’s theatre aesthetics in the early period of her activity, mainly in Riga during the 1920s. The article takes a chronological look at the first theatre impressions of German and Latvian theatres in Riga. Special attention is paid to Asja Lācis’s change of aesthetic views under the influence of the Russian avant-garde. In contrast to the exuberance of Hedda Gabler and the existential loneliness in Ibsen’s psychological theatre, the new Russian avant-garde theatrical search stressed the biomechanical conception and the role of the actor as a player in a theatre company. The key position in Asja Lācis’s personal work of directing in Riga amateur theatre of the leftist trade unions was the aesthetic requirements of the proletarian cult and the theatre of October. She tried to create a radical avant-garde theatre and expressed her aesthetic views in a number of articles in the Latvian leftist press. Anna Lācis’s experiments in Oryol and the Riga theatres, which were based on her acquired experience of the Russian avant-garde, served as a catalyst for her further cooperation with Walter Benjamin and Bertolt Brecht; it also influenced the development of different contemporary theatre trends.

ANNA LĀCIS AMONG THE CREATORS OF THE IDEOLOGICAL CHILDREN’S THEATRE

Author(s): Joanna Crawley / Language(s): English / Issue: 2/2015

The moral and political coup d’état in West Germany in 1968 brought new ambitions and goals. Women and children were recognised as victims of existing institutions. In order to change their lives, a vision and examples were necessary. This is why the summary of the Programme of the Proletarian Children’s Theatre by Asja Lācis and Walter Benjamin, which appeared in an alternative magazine, and subsequently Asja Lācis’s autobiography, entitled “Profession – Revolutionist”, caused an immediate reaction and became a new organisational strategic basis for work with children and youngsters. In these works, newly established children’s theatres, such as Teater im Märkischen Viertel, Gruppe Spielumwelt, Volker Ludwig’s Reichskabarett (subsequently – Grips) and TAT, found particular inspiration for anti-authoritarian activity. Volker Ludwig saw a way of bridging theatre and emancipation-oriented education in Asja Lācis’s works. The Grips-Theatre, which has existed for over 40 years, has become the most influential ideological theatre for children. Its different kinds of activities are now in use all over the world. The present paper explores the impact of Asja Lācis’s ideas on contemporary children’s theatre, demonstrating how concrete her discoveries were in the context of the theatre of her time.

ANNA/ASJA LACIS AND THE MULTILINGUALITY OF THE OTHER

Author(s): Susan Ingram / Language(s): English / Issue: 2/2015

The article discusses the multilingual nature of Anna/Asja Lācis’s own works as well as those devoted to her. When Anna Lācis’s memoirs were published in German in 1971, the editor Hildegard Brenner pointed out that the name Asja Lācis should appear more often in the research on Walter Benjamin and the cultural scene of Weimar. Asja Lācis did not receive well-deserved acclaim over the subsequent decades either. The conference, which is devoted to Asja Lācis and her work in the context of proletarian theatre and the ideas of leftism, indicates that the situation has changed under the influence of geopolitical and technological circumstances. The article analyses the influence of changes in the world on approaches to translation in culture and ensures an insight into Walter Benjamin’s translation work before meeting Asja Lācis in Capri. The goal of the paper is to analyse the efficiency of such work in order to understand both the difficulties in their relationships and the reception of their literary heritage, which are closely intertwined, as well as to facilitate the dialogue between this reception and leftism, which juxtaposes it to Antonio Gramsci’s works about translatability.

ANNAS (ASJAS) LĀCIS LOMA VALTERA BENJAMINA FILOZOFISKĀS DOMAS ĢENĒZĒ

Author(s): Beata Paškevica / Language(s): Latvian / Issue: 2/2015

Walter Benjamin’s collection of articles, Passagenwerk (The Arcades Project), is regarded as the quintessence of his philosophical thought and aesthetical beliefs. A forerunner of this monumental work is the travel description entitled “Napoli”, written in co-authorship with Anna Lācis, where the keyword is porosity, which is a metaphor for the specific way of thinking for Walter Benjamin. The collection of literary sketches “One Way Street” and “Moscow Diary”, created in cooperation with Anna Lācis, are also important records of the 20th century aesthetical perceptions and ideological considerations. There exists an interesting intertextual link between the images of cities in various Benjamin’s works – Naples, Rīga, Moscow. The article is an attempt to discover the “unclear” influence of Asja Lācis on the philosophical thought of Walter Benjamin and is based on Beata Paškevica’s monograph “In der Stadt der Parolen. Asja Lacis, Walter Benjamin und Bertolt Brecht” published in Germany in 2006. The conclusion is that Asja Lācis has not had a great influence on Benjamin’s political views but on his aesthetical views. This has been metaphorically formulated by Benjamin himself in the dedication text of his book “One Way Street”.

ANNAS LĀCIS DARBĪBA LATVIJĀ 20. GADSIMTA 20. GADOS. EKSPRESIONISMA ŽESTS

Author(s): Rita Lurina / Language(s): Latvian / Issue: 2/2015

The theatre director Anna Lācis belongs to the generation of modernists who found the origins of their creative impulses in the bright and erudite flow of arts education at the beginning of the 20th century. The wheel of the turn of the centuries threw Anna Lācis into the expression of idealism of the revolution, ideology and art forms. The stage requirements for this expression organised the flexibility of the actor along geometrically constructive laconic lines. Anna Lācis was one of the creators of this kind of gesture for a short time in Latvia in the 1920s. Her activity in Latvia was focused on the ideas and practice of formation of the so-called Proletarian Theatre. Anna Lācis’s choice of working with amateurs was determined not only by her position of an adherent to proletarian ideology and her brave civic liberty, but probably also by the coincidence of circumstances. When Anna Lācis was in Latvia, she gladly communicated not only with the left-wing revolutionary intellectuals (the poet Linards Laicens, the writer Leons Paegle, and others), but also with the representatives of Riga theatrical environment of the time. Unfortunately we cannot speak about Anna Lācis’s creative contribution to the Latvian Professional theatre of the time; however, her stagings lend us a wonderful opportunity to see a part of the multi-faceted spectrum that the beginning of the 20th century offered to the stage form of the actor and appreciate the erudition that her education had provided.

Antonín J. Stránský – un historien de l’art oublié

Антонин Странски – забравеният историк на изкуството

Author(s): Sanja Pajic / Language(s): Bulgarian,French / Issue: 1/2018

PhD Antonín Jiří Stránský (1896–1945), historien de l’art tchèque, est aujourd’hui presque complètement oublié. Peu connus dans la science, sa vie et son travail peuvent être reconstruits à la base des archives à Prague, de sa documentation conservée sous le nom de Collection Stránský (Zbirka Stranski) au Musée national de Belgrade, ainsi que de nombreux articles scientifiques, spécialisés et éducatifs qu’il publia dans diverses revues, magazines et quotidiens. Le domaine principal de son intérêt était l’art médiéval des peuples balkaniques.