scholarly journals The Tradition of Polish Radio Reportage

2021 ◽  
Vol 33 (2) ◽  
pp. 79-90
Author(s):  
Monika Białek

This article is an attempt to present the history of Polish radio reportage in a synthetic way, pointing out the most important features of the genre as well as the specificity of the Polish School of Reportage. The qualities developed there (including the “purity of form” and authenticity of sound) became dis­tinguishing elements of the Polish reportage in the international arena. The artistic value of the audio creations makes today’s radio art researchers situate both radio play and sound reportage in the category of audio literature. This paper presents the development of radio reportage, taking into account the his­torical context as well as the communication perspective. Pointing to the aes­thetic function of the message, the reportage is defined as a work of radio art, considered in terms of artistic impact.

2021 ◽  
pp. 36-45
Author(s):  
Qosimjon SODIQOV ◽  
Govhar RAHMATOVA

Lyric songs depict how rich is the aesthetic taste of the Turkic peoples and their special love for verbal art for a long period, and the fact that they possessed artistic resources capable of competing with the most agile peoples of their time. Moreover, these songs illustrate the artistic views of the Turks. Pure lyrical experiences, with their novelty, the richness of images, and unique pathos, have always engaged the reader. The poetry of the Turkic peoples is studied as a separate phenomenon in the history of world literature. Mahmud Kashgari’s Divani lugat at-Turk provides extensive information about the foundations of Turkish poetry and its scope. We can see the first paradigms of lyric poetry in the oral poetry of the Turkic peoples in the Divani lugat at-Turk. As a great linguist of his time and an advanced thinker – Kashgari proves each word with its specific expression or a piece of poetry. Each poem in his work is unique regarding its artistic value and semantics. We can see this, especially in these lyrical poems. Even simple episodes in lyrical songs demonstrate the ability of our ancestors to express thoughts beautifully. The lyrical passages in the Divani lugat at-Turk consist of the description of the mistress, the sad moments of the separation of beloved ones, and the poems addressed to his beloved one. The issue of fine art and its location is noteworthy in them. The devices used in them play an essential role as the initial version in the context of the literature of the Turkic peoples. The author cites some examples of such poetic art: tashbih, oxymoron, metaphor, tajnis, repetition, hyperbole (mubalaga), irsali masal, etc. These devices were actively reflected in all types of poetry of the later period. This article discusses the semantics of lyrical poems in the Divani lugat at-Turk and reveals their fine art.


Author(s):  
Chen L ◽  

The article traces the history of the origin of the Manyavsky Hermitage and reveals the stages of development of the monastery from the beginning of its foundation and formation, prosperity to the decline, destruction and revival in our time. In the course of the research, the architectural-spatial and planning structure of the monastery ensemble of the Exaltation of the Holy Cross in Manyava were analyzed. The originality of the ensemble lies not only in the harmonious combination of wooden, brick monastic buildings, surrounded by fortified thick walls with three towers but also in a kind of architectural and spatial combination of the main cathedral, which dominates the cells and other temples, with high dominants - the Treasury Tower and the Bell Tower. Diverse in architectural-compositional and artistic solutions, the material of construction, monastic buildings are organically integrated into the existing landscape environment and form a holistic architectural ensemble. The monastery buildings of the Great Manyavsky Hermitage have architectural and artistic value, belong to the historical and cultural heritage, and are an invaluable spiritual heritage of Ukraine.


2015 ◽  
Vol 20 (2) ◽  
pp. 200-206
Author(s):  
Gerald Fiebig

Many theoretical accounts of sound art tend to treat it as a subcategory of either music or visual art. I argue that this dualism prevents many works of sound art from being fully appreciated. My subsequent attempt of finding a basis for a more comprehensive aesthetic of acoustic art forms is helped along by Trevor Wishart’s concept of ‘sonic art’. I follow Wishart’s insight that the status of music was changed by the invention of sound recording and go on to argue that an even more important ontological consequence of recording was the new possibility of storing and manipulating any acoustic event. This media-historic condition, which I refer to as ‘recordability’, spawned three distinct art forms with different degrees of abstraction – electroacoustic music in the tradition of Pierre Schaeffer, gallery-oriented sound art and radiogenic Ars Acustica. Introducing Ars Acustica, or radio art, as a third term provides some perspective on the music/sound art binarism. A brief look at the history of radio art aims at substantiating my claim that all art forms based on recordable sounds can be fruitfully discussed by appreciating their shared technological basis and the multiplicity of their reference systems rather than by subsuming one into another.


Arta ◽  
2021 ◽  
Vol 30 (1) ◽  
pp. 118-123
Author(s):  
Aurelia Trifan ◽  

The current approaches, materialized in studies and research programs, further explain and complete the general picture regarding the identity of buildings for shows in the Republic of Moldova. The need to update existing information and correct errors and unconfirmed assumptions arises as a result of identifying new data. The research carried out in the field of buildings for shows focuses both on the detailing of its constitution and on the revelation of the architectural-artistic value – starting with the 19th century. The first buildings for shows (the Nobles’ Meeting Club and the „Pushkin” Auditorium), the refurbished buildings („Patria” Cinema and the Organ Hall) and adaptations to new programs such as soviet cinemas are highlighted. Thorough research of the history of construction and reconstruction of the two most famous buildings for shows, which were the headquarters of the Romanian National Theater in Chisinau, contributes to the identification of valid novelties in the correct and coherent dating and interpretation, as well as the names of the authors of the projects. Programs based on appreciating the value of the cultural heritage of the Soviet period are submitted to the attention of the professional environment, the interested public and the administrators of the built heritage and represent an attempt to raise awareness of the importance of re-evaluating this heritage.


2021 ◽  
Vol 8 (7) ◽  
pp. 160-161
Author(s):  
Yue Wang ◽  

This article briefly describes the main content and artistic value of the book Madness and Civilization: A History of Insanity in the Age of Reason, providing people with a new angle of reading and thinking.


Author(s):  
Paul A. Scolieri

This book is the first critical biography of Ted Shawn (1891–1972), the self-proclaimed “Father of American Dance.” Based on extensive archival research, it offers an in-depth examination of Shawn’s pioneering role in the formation of Denishawn (the first American modern dance company and school), Ted Shawn and His Men Dancers (the first all-male dance company), and Jacob’s Pillow (the internationally renowned dance festival and school located in the Berkshire Hills of Massachusetts). For many years and with great frustration, Shawn attempted to tell the story of his life’s work in terms of its social and artistic value, but struggled, owing to the fact that he was homosexual, something known only within his inner circle of friends. Though Shawn remained closeted, he scrupulously archived his journals, correspondence, programs, photographs, and motion pictures of his dances, anticipating that the full significance of his life, writing, and dances would reveal itself in time. By exploring these materials alongside Shawn’s relationship with contemporary thinkers who were leading a radical movement to depathologize homosexuality, such as the British eugenicist Havelock Ellis, writer Lucien Price, and sexologist Alfred C. Kinsey, this book tells the untold story of how Shawn’s homosexuality informed his extensive body of writings and choreography and, by extension, the history of dance in America.


2018 ◽  
Vol 14 (2) ◽  
pp. 197-210
Author(s):  
Tatiana Artemyeva

Among various approaches to intellectual processes in history we can find some space for new aspects of the history of visuality, including emblem studies.The visual part of the emblem depends on the conceptual description, and its artistic value or the quality of its image is not as important as its textual part. We can compare this with the calligraphic status of handwriting, or the particular configuration and style of a typeface. They are not important for the content of the text, although we can include them in our consideration. Paradoxically, the textual part of the emblem usually contains visual descriptions as explanations and can completely replace the image. The sustained connection between an image and a description of an emblem allows us to give it the status of a concept. In this paper, I use examples from the Russian emblematic discourse of the Enlightenment to contextualise an illustrated edition of the poetry of Gavriil Derzhavin.


2016 ◽  
Vol 13 (2) ◽  
pp. 255-271
Author(s):  
Erwin J. Warkentin

This article focuses on the stage and radio play Draußen vor der Tür (The Man Outside) by Wolfgang Borchert, broadcast in the British zone of occupation for the first time on 13 February 1947. A careful comparison of the stage and radio versions allows us to ascertain the degree to which the changes made by the British radio control officers Hugh Carleton Greene and David Porter were political in nature. The article opens by outlining both the history of the creation of the radio version and Borchert's attitude towards the Public Relations/ Information Services Division of the Control Commission for Germany (PR/ISC) (through the analysis of Borchert's correspondence).The original NWDR (Nordwestdeutscher Rundfunk/ Northwest German Broadcasting) typescript of the radio broadcast, complete with handwritten emendations, is then compared with the published version, confirming how the radio play was edited to conform to British broadcast standards for a German audience, as well as the Anglo-American reeducation programme for Germany. Greene and Porter systematically edited out mention of postwar German suicides, overt German suffering, attacks on the German institutions the British considered important in the reconstruction of Germany, and any suggestion that the Allies had engaged in morally dubious acts during or after the war.


2021 ◽  
pp. 12-21
Author(s):  
Alexandra Yu. Bakhturina ◽  

The history of the movement for a national Polish school in 1905–1907 was for a long time a part of research on the history of the first Russian revolution; the “school strike” in the Kingdom of Poland was studied separately, but the position of the top Russian bureaucracy on that issue was not considered in detail. The article considers an evolution in the positions of the top Russian bureaucracy on the issue of teaching in Polish in the schools of the Kingdom of Poland during the first Russian revolution. For the first time, the differences between the positions of official Petersburg and the provincial administration of the Kingdom of Poland are shown. The provincial administration was more interested in achieving stability in the province by liberal methods and was ready to make concessions when the members of the Council of Ministers and Nicholas II initially held an ambiguous stance. Based on the analysis of the interdepartmental correspondence, part of which is introduced in the scientific circulation for the first time, it is concluded that hesitation of the tsarist government in resolving the issue of the national Polish school did not contribute to the stabilization of the situation in the region during the revolution, and the winning liberal course did not have the anticipated effect.


2019 ◽  
pp. 193-200
Author(s):  
Mykola Korpaniuk

The article is devoted to the study of D.Chyzhevsky’s contribution to the analysis of the artistic filling of ancient chronicles through the use of the stylistic method of analysis. An important conclusion is the assertion of the national chronicles of the eleventh and thirteenth centuries that their authors are highly educated, good connoisseurs of the Bible, ancient, Byzantine literatures, works by Homer, Joseph Flavius, George Hamartol, Joan Malalai, the Byzantine chronograph, Alexandria, especially popular in the princely environment, and the images of Alexander of Macedon, Darius, reproduced in it, as well as the image of Hercules, were close and exemplary for our princes. As for the brief history of national writing, D.Chyzhevsky, analyzing the historical and aesthetic canvas of the chronicles of the eleventh and eighteenth centuries, adequately and convincingly characterized the artistic value and originality of memorials, revealed the crucial importance in their creation of the high erudition available to the authors, the thorough knowledge of the history of Ukrainian and foreign, in particular of ancient, literatures; emphasized in the chroniclers the literary ability, heroic and patriotic abilities, national centrism and moral and religious nobility, attachment to traditions, a part of the literary and chronicles, which contributed to the writing of majestic epic paintings addressed to the depicted and described heroes of works. The historian of literature has convincingly proved that such a long-term development of the genre of the chronicles (XI-XVIII centuries) was facilitated by the content-artistic perfection of «The Tale of the Past Years», the talent of its founders, Nikon, Nestor, Sylvester, whose own work, the idea of unity of Russia in the struggle against internal and external enemies, which remained urgent throughout all subsequent centuries, and a significant conservatism of the genre, focused on the upbringing of historical generic, national, cultural memories, laid the solid foundations for the development of our entire national first literature which convincingly demonstrate chronicles, historical fiction themes XIX-XXI centuries. The own «History of Ukrainian Literature», the level and conclusions of the analysis of the chronicles D.Chyzhevsky scientifically reasonably developed the principle of national centrist, founded in his medieval works by M.Maksymovych and confirmed by the formation and development of our literary thought. In them, the doctrine proved that in the analysis of ancient writing, chronicles must use a stylistic approach to express their artistic, their aesthetic nature and value. The new thought of the scientist was his noteworthy that the chronicles have signs of the classical direction, characteristic of the works of the elite princely-Sarmatian and Cossack-Kozar tribes.


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