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Systematic study of traditional song culture, using the category of song genre, has been conducted in Slovakia during the last two decades in particular and has opened methodological paths towards the contextual study of song structure. During this period soundings in depth were conducted on selected song groups, and the theoretical premises of genre research were tested. Resulting from both these lines of research, there has been a refi nement of analytic procedures and interpretative models, which culminated in the conception of genre syntheses. Th e genre syntheses provide a complex view of the song as a unity of music (tune), text and social function. Th ey are aimed at the mapping of genre specifi cities (features which distinguish the given song genre from the context of the others), and at the same time they interpret these features in wider socio-cultural, regional and historical-evolutionary connections.
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Th e four four-part hymn adaptations in a manuscript Slovak Lutheran hymnbook without title page (SK-Mms, B III/107) are among the few documented examples of choir adaptations of Slovak hymns in the 17th century. Th is source, of Central Slovakian provenance, which has not been known hitherto, documents liturgical singing by Slovaks in one of the church choirs of that region at the close of the 17th century.
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Gáfriková, Gizela (ed.): Posledné veci človeka. Štúdie k dejinám slovenskej duchovnej kultúry 17. – 18. storočiaBratislava : Veda, vydavateľstvo Slovenskej akadémie vied, 2010, 255 s. ISBN 978-80-224-1124-0
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Over the 20th century, Slovak professional acting, in sense of conscious and purposeful dramatic work, undergone enormous development. It was not yet formed although we can speak about the Slovak theatre, or theatre using Slovak language during their production at the beginning of this historical period. The theatre production was carried by amateur acting companies, trying to imitate the performances known from their visits to big cities of then monarchy or touring professional „comedians”, mostly of Hungarian but also Czech and German origin. For a convinced follower of psychological realism and the founder of Slovak professional theatre Ján Borodáč, , the artistic supreme objective was to teach an actor to understand the inner world of depicted character, use the talent available and the expression of actors to create individualized dramatic character. Borodáč’s successors, the directors Ján Jamnický and Ferdinand Hoffmann exceeded these limits of psycho-realistic theatre and further experimented with stylization, pathos of musical language and speech. In the sixties and seventies already differentiated institutionally, Slovak theatre undergone the period of considerable interest in work in experimental conditions of experimental studio theatre where the audience became a contact eyewitness of the act of transformation of an actor. At the end of the twentieth century, the rapid modernization of means of dramatic expression, showing a maximum concentration on detail, authenticity and spontaneity took place in the Slovak theatrical context. The actor no longer represents only the role assigned, but performs it anti-illusively and brings his own opinions into the interpretation puts and thus participates in dramaturgic and directorial concept of the production. The author of the study perceives this development as contradictory. He draws attention to the risks arising from this fashion acquired even by those actors who are not able to be the intellectual partners of an author, dramatic adviser and director and in such cases are their authorial inputs rather forced and unsubstantial.
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In the 19th century, the period of intensive contacts between the West and Japan was renewed. This situation led to a mutual enrichment of both cultures, especially in the field of arts, but (especially on the side of Japan) also in politics and economics. Two waves can be identified in the process of reintroduction of Japanese culture to the West until the continuous reciprocal cultural exchange as we know it after World War II. Fascination of Europe with the Japanese woodcraft (since 1862) that influenced Impressionism and later Art Nouveau can be identified as the first wave, the second wave is characterised by broader familiarity with Japanese culture and literature due to the fact that more and more Westerners mastered the secrets of the Japanese language and the first translations into the European languages appeared (the period of fin de siècle - the turn of the 20th century). Noh theatre emerged in the West as part of the second wave. As early as in 1899, the West again gained the opportunity to get familiar with the Japanese performing arts. It was during the U.S. and European tour of actor Kawakami Otojiró (1864 - 1911) who owned a private theatre Kawakami, and his wife, a former geisha Sadayakko (1871 - 1946), one of the first female actresses in modern Japan. Europe began to realize the authentic form of Noh. In London, the increase in popularity of Noh can be traced into the crucial moment, when a young American poet Ezra Pound (1885-1972,) came here in 1908 longing to get to know the Irish poet W. B. Yeats (1865-1939). Western authors appreciated how the Japanese Noh combines drama, music and dance into the monolithic whole and they considered mask an excellent means of an „alienation effect”, leading the spectators to feel separated from the events on stage and giving them an opportunity to think about the deeper meaning of events. Analysing the history of Noh in the West, we note two milestones, two points in this development which brings in mind two ends of Monet’s Pont Japonais (Japanese Bridge) in his garden in Giverny, stretching over the century of its naturalization in the West. One is the work of William Butler Yeats at the beginning of the 20th century and – a century later, Jannette Cheong’s work, the latest piece of the Western Noh. Both were written in English and premiered in London - the former at then in vogue art salon in April 1916 and the latter at London’s Southbank in December 2009.
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Review of: Mišo A. Kováč - Dagmar Podmaková: Príbeh divadla /Divadlo, ktoré nezaniklo/, Slovenské komorné divadlo Martin, 2009, 252 s.)
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Using new archival material, the study explores Frank Wollman’s plays staged by the Slovak National Theatre in Bratislava in the 1920s. Recognised as a Czech expert in Slavonic studies, he lectured at the Faculty of Arts of Comenius University in Bratislava. In the early years of his professional career, he presented himself as a “manifestly Czechoslovak” dramatist, whose drama Bohokrál (1921) [The Godking] published in book form portrayed Alexander the Great. The ideas of Czech and Slovak togetherness were conveyed through the Great Moravia theme in his historical tragedy Rastislav (1922). His Člun na moři (1924) [A Boat at Sea], a “human grotesque and political utopia” juxtaposing opposing human types, got a particularly keen public response. Overall, Wollman’s dramas reflected on major social conflicts, and by putting emphasis on moral ethos, they were intellectual in nature. They linked expressionist elements with the tradition of classical realistic drama. Even though the plays were not included in the basic repertory of the Slovak National Theatre when first staged, they have remained a witness of the author’s artistic formation as well as of the dramaturgy of SND.
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Th e study consists of notes on the topic of Franciscan music in the 17th and 18th centuries in St. Wenceslaus Province (Provincia Bohemiae Sancti Wenceslai), based on sources in the monasteries at Dačice and Moravská Třebová. During the 17th century the specifi c features of music in this province included – besides an emphasis on cultivation of the traditional Gregorian chant (treatises by P. Modestus Märstein) and new composition in the socalled measured chant – much greater space aff orded to non-Franciscan composers in the repertoire of the Mass. Some of these compositions became part of the basic repertoire also in the neighbouring Austrian province of St. Bernardin of Sienna. Th e Czech province probably had closer contacts not only with Franciscans in Slovakia but also in the Tyrol. Evidence of this is the simplifi ed type of Franciscan polychoral music (two single-voice choirs) in the 18th century, when in reality this music could be presented in double choir only in St. Wenceslaus Province. Interesting in terms of practical performance is the use of other instruments alongside the organ, though in a lesser degree than in the neighbouring provinces.
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The onset of the migrant crisis has caused the appearance of new works in the European cinema but Bulgaria has been lagging behind with the articulation of the ‘refugee’ theme. The figure of the foreigner does exist on our contemporary movie screen but the emphasis usually falls on the rethinking of the traumatic totalitarian past. There are, however, directors who are developing the socially engaged cinema and searching for different approaches to the study of the Other/the Alien. Unavoidably, these cinematic works tie in xenophobia, the hardened monocultural mentality, the widespread national disillusionment with the perpetual transition and the feeding of marginalization within the EU. The first short documentaries appeared in 2006 thanks to the initiative of The Red House Centre for Culture and Debate which no longer exists in Sofia. The so-called Invisible Minorities package comprises five titles. The authors of these films do not belong to the professional cinema community but they have managed to provoke a discussion. Recently several mature and young directors summoned the courage to discuss the image of the refugee, sending various messages to the audience (local and international). With the aid of the film studies toolbox – but within the contexts of the socio-cultural environment I have analyzed the documentaries Long Live Bulgaria (2017, by Adela Peeva) and The Good Postman (2016, by Tonislav Hristov); the shorts - Trials (2017, by Boya Harizanova) and Dobry (2017, by Orlin Milchev); and the feature film Fear (2020, by Ivaylo Hristov).
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Miniature writing is the art of painting, which has its own technique and features, which is made to better explain and decorate the subjects in the work. Miniature art, which started with the Uyghurs, developed with book decoration and gave rich examples until the 18th century and represented Turkish painting art. Ottoman miniature art, which is a palace art, was developed with the support of the sultan and administrators, and miniatures of important events that took place around the sultan in historical matters were made. The most well-known features of Ottoman miniatures that distinguish them from other country miniatures are their documentation quality. The manuscripts written by Matrakçı Nasuh and made miniatures also have the feature of documentation. The most well-known feature that distinguishes it from previous and contemporary miniatures is that it is the first artist to design landscape-themed miniatures. Suleiman the Magnificent made his second important expedition to Rhodes Island, stayed on the Menteşe Sanjak during the campaign and ruled the state from here. Although many architectural works from the period of the Menteşoğulları Principality have reached the present day, Matrakçı Nasuh and later artists did not make miniatures of the region. With the stylistic features of Matrakçı Nasuh, it is aimed to introduce the values of the Menteşe region with new designs that reflect the characteristics of miniature art of our age and also have documentation qualities.
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(lz: Modernity and the Hegemony of Vision, prir. David Michael Levin, Univ. of California Press, Los Angeles 1993, str. 379-405)
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Hana Urbancová: Trávnice – lúčne piesne na Slovensku. Ku genéze, štruktúre a premenám piesňového žánru. Bratislava : Academic Electronic Press, 2005, 324 s. ISBN 80-88880-67-X
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Development of religious art, namely – religious painting, its specifics, in Russia of the end XIX – the beginning of the XX centuries, caused by system changes in the Russian society, on the example of painters – V. M. Vasnetsov, M. V. Nesterov, M. A. Vrubel is analyzed in article.
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The article discusses the relationship of art history and the national discourse in Estonia at the beginning of the 1920s. It is based on a close reading of the correspondence of the officials of the University of Tartu when they were seeking to find prospective candidates, informing and persuading them and discussing their terms for taking part in the competition for the chair of art history. The candidates were concerned about the political and financial situation in the newly established Estonian Republic and also about Germanophobia. The former social elite – the Baltic Germans – who were dispossessed of their properties in 1919 by the Land Reform Act, did play a part in contributing to the formation of the Act. The Act left the Baltic German noblemen their movable private property, such as art collections. The most valuable private art collection in Estonia at that time – the Reinhold Karl von Liphart bequest in the Raadi manor – was allowed by the Estonian parliament to be deported from Estonia in return for donating a third of the collection to the republic.
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The article deals with the correspondence between three acclaimed and distinguished art historians from the Estonian SSR and University of Stockholm professor Sten Karling from the late 1950s to 1987. Karling was a colleague of Voldemar Vaga and taught Helmi Üprus and Villem Raam at the University of Tartu in pre-war Estonia. The correspondence (consisting of more than 300 letters) is in the care of the Getty Research Institute in Los Angeles. The article focuses on the art historians who lived in the Estonian SSR, above all the main directions of their study of art history. As such, the letters are reflections of art history’s discursive attitudes and methodological mindset.
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Using the case of the Tallinn print triennials as a model, this article examines the role of Baltic art triennials in the region’s art during the Soviet era. One of the most important areas under observation is the attempts to broaden the print triennial into an international event and the impact of the triennial format on perceptions of the development of Estonian art.
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The article is based on the need to provide societal background for concrete artistic phenomena. Here I cover the coming together of a group of people, at first in the form of a circle of bohemian friends and later as an artistic group called Quixotists, and interpret the artistic actions that had direct impacts on their world view. This circle of friends which formed over about five years starting in 1985 consisted of the artist Jaan Toomik (b. 1961), his poet younger brother Tõnu Toomik (1965–1992), the poet and artist Jaan Paavle (1940–2010), the writer Tarmo Teder (b. 1958), the entrepreneur Jaan Jaanisoo (b. 1958), who was also involved in painting, performance art and installations, and the painter Vano Allsalu (b. 1967). As time went on, the role of performative arts became more important in their circle and in their collective identity. Their different attitudes towards performance art in the end also formed one of the causes of polarisation and the falling apart of the group. In the local art history, Quixotists as a group were important as modernisers and transformers of a cult of irrationality indirectly stemming from surrealism. Their appearances in performances turned out to be historical through the manifesting of personal truths, but remained relevant only for a brief period, therefore acting as a breaking point, a redefinition of reality which was previously determined by earlier conventions typical of the Soviet environment.
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Review of: Eesti kunsti ajalugu 4. 1840–1900.; Koostanud ja toimetanud Juta Keevallik, peatoimetaja Krista Kodres. Tallinn: Eesti Kunstiakadeemia, SA Kultuurileht, 2019, 480 lk.
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The sacred heritage of Southern Banat represents the artistic creativity in the field of architecture, painting and applied art which are subjected to Christian cult. The author reviews the history, development and western influences in church art and architecture of this region.
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