scholarly journals „Dziwna awersja”. O wystawach Schulza

Schulz/Forum ◽  
2019 ◽  
pp. 5-34
Author(s):  
Urszula Makowska
Keyword(s):  
Fine Arts ◽  
Graphic Art ◽  
Self Presentation ◽  
Local Newspapers ◽  
Soviet Institution ◽  
The Press ◽  
In Series ◽  
In The Beginning ◽  
Constant Support ◽  
Do So

The paper sums up and corrects information on the exhibitions in which Schulz took part as well as reconstructs the circumstances under which they were organized. Today we know about ten such exhibitions ordered in series separated by several year-long breaks: 1920-1923, 1930, 1935. His participation in the last show, organized in 1940 by a Soviet institution, cannot be considered fully voluntary. Of the prewar exhibitions only those in Lvov – in 1922 and 1930 at the Society of the Friends of Fine Arts [Towarzystwo Przyjaciół Sztuk Pięknych] and in 1935 on the premises of Union of Polish Artists [Związek Zawodowy Polskich Artystów Plastyków] were noticed by the press, mainly local newspapers. Apparently Schulz, who understood the significance of exhibitions in building one’s artistic biography, did not care much about them. He needed constant support in the selection and evaluation of his works since he was not sure of their value. Probably in the beginning he could count in that respect on his close friends from Drogobych and then those from Lvov. In fact, however, he lived outside the artistic circles and sporadic contacts with other artists did not provide him with necessary inspiration or encouragement to present his works in public. The available records imply that only in 1938, perhaps reinforced by his position in the world of literature, Schulz was ready to plan exhibitions, but not in Lvov and not even in Poland. Exhibitions allowed him also to reach out to other people. They gave him a chance to find an understanding spectator, but also required disclosing oneself. Regardless of their subject matter, drawings are records of the artist’s gestures, i.e. his corporeality. Presenting them in public must have been for Schulz a temptation to tear off his disguise, but it also provoked fear to do so. It was only the graphic art that guaranteed a safe distance between the artist and spectator thanks to the technological processes that separated a single print from the artist’s body. One must remember that most Schulz’s exhibits were the cliché-verres, while practicing other kinds of graphic techniques was his unfulfilled dream. Thus, the sequences of Schulz’s presentations at exhibitions, separated by years of absence, are related to the episodes of his biography, reflecting his attitude toward self-presentation that oscillated between desire and aversion.

The Samarin Family and the Parish Question in the Russian Empire. 1860s–1910s

2019 ◽  
Vol 54 ◽  
pp. 235-246
Author(s):  
Alexey L. Beglov
Keyword(s):  
Twentieth Century ◽  
Russian Empire ◽  
Public Discussion ◽  
The Public ◽  
The Social ◽  
Church Life ◽  
The Russian Empire ◽  
In The Beginning ◽  
The Church ◽  
Do So

The article examines the contribution of the representatives of the Samarin family to the development of the Parish issue in the Russian Empire in the late 19th and early 20th centuries. The issue of expanding the rights of the laity in the sphere of parish self-government was one of the most debated problems of Church life in that period. The public discussion was initiated by D.F. Samarin (1827-1901). He formulated the “social concept” of the parish and parish reform, based on Slavophile views on society and the Church. In the beginning of the twentieth century his eldest son F.D. Samarin who was a member of the Special Council on the development the Orthodox parish project in 1907, and as such developed the Slavophile concept of the parish. In 1915, A.D. Samarin, who took up the position of the Chief Procurator of the Most Holy Synod, tried to make his contribution to the cause of the parish reforms, but he failed to do so due to his resignation.

VIII.—High-Level Terraces in Norway

1877 ◽  
Vol 4 (2) ◽  
pp. 72-75 ◽  
Author(s):  
J. R. Dakyns
Keyword(s):  
Physical Geography ◽  
The Press ◽  
Scientific Opinion ◽  
The Subject ◽  
High Level ◽  
Do So

In the summer of 1872 I visited Norway, and wrote the following brief notice of certain high-level terraces immediately on my return to England, but kept it back that I might first consult some papers on Norwegian terraces that had appeared in the closing numbers of “Scientific Opinion”; these I was not able to meet with for so long a time that I gave up the idea of sending my notice to the press. I am now induced to do so, because I see that the subject of the parallel roads of Glenroy still occupies the attention of geologists, and it may induce some one next summer to examine minutely the Dovre terraces and sand-heaps and their relation to the physical geography of the district. I was merely able to make a flying visit to them, which I delayed my party to do, because they caught my eye so forcibly, as we were driving along the valley.

scholarly journals Cultural Materialism in Lorca’s Poetry

2020 ◽  
Vol 3 (2) ◽  
pp. 682-691
Author(s):  
Mahnaz Soqandi ◽  
Fatemeh Sadat Basirizadeh
Keyword(s):  
Ethnic Studies ◽  
Fine Arts ◽  
Point Of View ◽  
Cultural Materialism ◽  
Social Mechanism ◽  
Work Of Art ◽  
External Point ◽  
Language And Politics ◽  
Mechanism Function ◽  
Do So

The aim of the present research is to investigate Lorca’s poem from cultural materialist point of view. To do so, the researcher investigates how culture and social mechanism function in the context in which the poems have been written. Cultural materialism attempts to investigate different aspects of society, art, economy, language, and politics from an external point of view and analyze them to find out how identity and self are shaped accordingly. Cultural materialism is demonstrated in different categories including gender, ethnic studies, postmodernism, postcolonialism, and other fields. Cultural materialism highlights the relation between a work of art and the ideological system in which it has been created. In other words, cultural, social, religious and several other factors must be accounted for while interpreting a work of art. Consequently, how cultural dogma functions within fine arts in order to produce the internal textures is uncovered through cultural materialism. In Lorca’s poems, the contents have symbolic and metaphoric mechanisms which can be interpreted through material analysis.

scholarly journals Sadayakko és Hanako Budapesten

2020 ◽  
Vol 11 (2019/1) ◽  
Author(s):  
Petra Doma
Keyword(s):  
20Th Century ◽  
Theatre History ◽  
Death Scene ◽  
The Press ◽  
The Times ◽  
In The Beginning

In the beginning of the 20th century, two celebrated Japanese actresses, Kawakami Sadayakko (1871–1946) and Hanako (1868–1945), visited Budapest. Sadayakko, accompanied by the Kawakami troupe, arrived in February 1902 and performed at the Uránia Theatre. Hanako visited the Hungarian capital twice: in 1908 and 1913. Both of them played in ‘Japanese-style’ performances, which at first seemed traditional and authentic to the Hungarian audience. The most important and spectacular element of these plays was the death scene and the supernatural way the actresses performed this on stage. In the present paper I analyse various kinds of contemporary articles and examine how the two actresses appeared in and influenced Hungarian theatre history. Additionally, through the analysis of the press of the times, I will argue that Hanako’s second visit was less successful than her first or than Sadayakko’s, and show that the audience’s opinion about the authenticity of the performance changed completely.

scholarly journals The Struggle for Control: How do Norwegian TV-Celebrities Deal With Critical Media Exposure?

2019 ◽  
Vol 7 (2) ◽  
pp. 68
Author(s):  
Fanny Duckert ◽  
Kim Edgar Karlsen
Keyword(s):  
Impression Management ◽  
Media Coverage ◽  
Media Exposure ◽  
Direct Effects ◽  
Self Presentation ◽  
Defensive Strategies ◽  
Strong Focus ◽  
The Press ◽  
Critical Media ◽  
The Media

Ten Norwegian TV-hosts, all nation-wide celebrities, were interviewed about their experiences with critical media exposure. How did they perceive their relationship with the press?  What were the main sources of stress? How did they cope? All expressed a strong focus on impression management and self-presentation. The majority described an independent and often playful interaction with the press, in order to keep control over their programs and their privacy.All had experienced negative media exposure. Sources of stress were one-sided presentations, evil informers, personal attacks, and harming their family. They experienced both direct effects by the media coverage, and indirect effects through interaction with other people.The majority used problem-focused coping strategies, actively influencing the media coverage; emotion-focused strategies, regulating their thoughts and feelings; and meaning-focused strategies, allowing reflection. Proactive self-presentation work helped maintain and protect their identities.Two of the participants reported using more defensive strategies, and had suffered more intensely.

Younan, Ramses (1913–1966)

2018 ◽  
Author(s):  
Sam Bardaouil
Keyword(s):  
Higher Education ◽  
Public Schools ◽  
Middle Class ◽  
Fine Arts ◽  
Art Teacher ◽  
Middle Class Family ◽  
The Press ◽  
Degenerate Art ◽  
Port Said ◽  
Press Office

Born into a middle-class family in Minieh, Egypt, Ramses Younan enrolled at the School of Fine Arts in Cairo in 1929. Due to an irreconcilable gap in creative and intellectual affinities between him and his peers and instructors, however, Younan dropped out in 1933 before finishing his diploma. In 1934, after obtaining a teaching certificate from the Syndicate of Higher Education, Younan took a job as an art teacher in a number of public schools in Tantah, Port-Said, and Cairo. In 1935, he joined The Call for Art Group founded by Habib Girji, which advocated the importance of art in the education of children. In 1939, he was one of the co-signatories of the manifesto "Long Live Degenerate Art," which was signed by thirty-seven mostly—but not exclusively—Egyptian artists and intellectuals living in Cairo at the time, who condemned the persecution of artists in Europe by Nazis and Fascists. In 1939, he and Georges Henein co-founded the Art and Liberty Group, comprising a number of intellectuals and artists who aligned themselves primarily with Surrealism. In 1941, Younan quit teaching to devote himself entirely to art and writing, and became the editor-in-chief of the leftist weekly magazine Al-Majalla Al-Jadida [The New Magazine]. He left Egypt for Paris in 1947 and worked in the Arabic Department of the French National Radio until 1956, while continuing to work as a painter and writer. After a brief time spent in the press office of the Egyptian Embassy in Paris, he returned to Cairo where he stayed until his death in 1966.

"Polemik im Concertsaal": Mahler, Beethoven, and the Viennese Critics

2006 ◽  
Vol 29 (3) ◽  
pp. 289-321 ◽  
Author(s):  
K. Knittel
Keyword(s):  
Mother Tongue ◽  
Concert Hall ◽  
Ninth Symphony ◽  
The Press ◽  
The Right ◽  
Over Time ◽  
Do So

"Polemic in the Concert Hall": the title of Richard Heuberger's article in the Neue freie Presse refers in no uncertain terms to the uproar surrounding Mahler's performances of Beethoven's Ninth Symphony in Vienna. The two performances, on 18 and 22 February 1900, used Mahler's own orchestral re-touchings of Beethoven's work, and Mahler's biographers have often identified these concerts as the first sustained attacks by the press, attacks that would, over time, only continue to increase in severity and frequency. When these concerts are placed into the context of reactions to Mahler's other Philharmonic concerts, however, this narrative of a "fall from grace" proves impossible to sustain. Not only was Mahler denounced for reorchestrating other works from his very first concert with the Vienna Philharmonic, but the language used to do so remained consistent throughout Mahler's tenure. Mahler, as a Jew, was not perceived as having the "right" to "improve" Beethoven--or any other composer for that matter. Although not overtly anti-Semitic, the language of the reviews resembles that found in Wagner's essay "Das Judentum in der Musik," where he outlines the Jewish composer's supposed handicaps: an emphasis on detail to the detriment of the whole, the prevalence of intellect over feeling, and an understanding of culture as merely "learnt" but never "mother tongue." An examination of the critical reactions points out these similarities while also suggesting that, particularly given Wagner's own suggestions (in 1873) for the reorchestration of Beethoven's symphony, the uproar had very little to do with what anyone heard.

scholarly journals Harmonising the City: Music, Multiculturalism and The Muses' Magazine in Brisbane

2011 ◽  
Vol 18 (1) ◽  
pp. 26-41
Author(s):  
Patrick Buckridge
Keyword(s):  
Significant Degree ◽  
Russian Revolution ◽  
Real Potential ◽  
Life World ◽  
The Real ◽  
Local Newspapers ◽  
Treaty Of Versailles ◽  
The Press ◽  
Foreign Loans ◽  
The City

Brisbane in the 1920s certainly had its tense moments, but what struck me most forcibly in browsing the local newspapers from the period was how successfully political and social conflicts were absorbed into the peaceful, civil and law-abiding fabric of Brisbane life. World-altering events like the Russian Revolution, the Armistice and the Treaty of Versailles, the Irish Troubles and the rise of Mussolini were reported and discussed in the press and elsewhere, but matters seldom went further than that despite the real potential — given the presence of significant Russian, German, Irish and Italian minorities in the city's population — for ‘imported’ tensions. Even the momentous political developments that occurred in Brisbane in the early 1920s, when the state government's efforts to secure foreign loans were sabotaged by an opposition-funded delegation to London, and the Premier, EG (‘Red Ted’) Theodore, forced the parliamentary upper house to terminate its own existence, failed to polarise or fracture the community to any significant degree.

Region Community in Communication Theory

2014 ◽  
pp. 35
Author(s):  
Sandra Murinska-Gaile
Keyword(s):  
Communication Theory ◽  
Local Community ◽  
Local Newspapers ◽  
Individual Interaction ◽  
Perfect Model ◽  
Regional Newspapers ◽  
The Press ◽  
Community Identification

The aim of the report is to determine how local and regional newspapers represent local communities and how their communicative integration has been promoted. Mass media, establishing community cognition about its existence, involvement into the community, identification and belonging to the community, represent a perfect model of interaction between community and communication. During the content analysis of the press publications of local newspapers of Latgale region the typological characteristics and classification are emphasized, the role of the press in the development of the region inhabitants is defined, the direction and structure of the editorial board activities, newspapers’ content, authors and genres are inspected. The practice of local journalism varies in different places; there are some common trends but specific characteristics are noticed in each local community. They are being affected by social context, which is characterized by regional values and culture, since they correspond to the community and individual interaction as well. It is possible to see differences both in community structure, spread and in expressions of local newspapers within the region.

The New United Nations and the Revision of the Charter

1954 ◽  
Vol 16 (1) ◽  
pp. 3-21 ◽  
Author(s):  
Hans J. Morgenthau
Keyword(s):  
United States ◽  
Soviet Union ◽  
United Nations ◽  
Korean War ◽  
The United States ◽  
Great Powers ◽  
The Soviet Union ◽  
The Korean War ◽  
In The Beginning ◽  
Do So

The conflict between the United States and the Soviet Union has prevented the United Nations from becoming the international government of the great powers which the Charter intended it to be. That conflict has paralyzed the Security Council as an agency of international government. In the few instances when it has been able to act as an agency of international government, it has been able to do so either, as in the beginning of the Korean War, by the accidental and temporary absence of the Soviet Union or, as on the Indonesian issue, by a fortuitous and exceptional coincidence of interests.

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