scholarly journals WHAT REMAINS AFTER THE JUBILEE YEAR OF POLISH AVANT-GARDE?

Muzealnictwo ◽  
2018 ◽  
Vol 59 ◽  
pp. 113-122
Author(s):  
Piotr Kosiewski
Keyword(s):  
Le Corbusier ◽  
Art Museum ◽  
National Museum ◽  
Avant Garde ◽  
The Subject ◽  
Polish Culture ◽  
The City ◽  
Source Materials ◽  
Selection Of ◽  
The Way

The year 2017 – a centenary of the “1st Exhibition of Polish Expressionists” – was proclaimed as the Jubilee Year of Polish Avant-garde. To mark the occasion over 200 events were organised by nearly 100 institutions. What is the outcome of it all? Has it changed the way the avant-garde movement and its role in Polish culture and tradition were perceived? Among accomplishments the jubilee year brought about is undoubtedly a number of exhibitions, their catalogues as well as other publications devoted to the avant-garde. Unfortunately, not all the initiatives turned out to be successful. Some of them though will be well remembered, inter alia: the cycle of exhibitions prepared by the Art Museum in Łódź which were accompanied by comprehensive and well edited catalogues; exhibitions: “Urban Revolt” at the National Museum in Warsaw, and “Avant-gardes of Szczecin” at the National Museum in Szczecin. One of the achievements is bigger amount of visual and textual resources available in Poland to explore the subject of the avant-garde. The jubilee publications also contained numerous documental materials that were not well known before. Significant theoretical texts have been published as well: the extended edition of Władysław Strzemiński’s Theory of Vision, and the Athens Charter by Le Corbusier, the importance of which can not be emphasised enough. The publication of relevant source materials must also be brought to attention; they came out as a series of catalogues by the Art Museum in Łódź, inter alia an ample selection of articles written by Debora Vogel in the book that accompanied the exhibition “Montages. Debora Vogel and the New Legend of the City”. During the jubilee year a question whether the avant-garde tradition resonates today was raised on many occasions. Two exhibitions presented various attitudes towards the heritage of the avant-garde: mentioned above “Montages” exhibition in Łódź, and one in the International Cultural Centre in Kraków “Lviv, 24 June 1937. City, Architecture, Modernism”.

Museum Preserves in the Sphere of “Cultural Tourism”: Through the Example of the Cultural Preserves of Tatarstan

2019 ◽  
Vol 9 (4) ◽  
pp. 193-198
Author(s):  
Lyudmila S. Timofeeva ◽  
Albina R. Akhmetova ◽  
Liliya R. Galimzyanova ◽  
Roman R. Nizaev ◽  
Svetlana E. Nikitina
Keyword(s):  
19Th Century ◽  
Art Museum ◽  
Medium Size ◽  
Business Elite ◽  
Wide Range ◽  
The Subject ◽  
Tourist Center ◽  
Regional Authorities ◽  
The 19Th Century ◽  
The City

Abstract The article studies the existence experience of historical cities as centers of tourism development as in the case of Elabuga. The city of Elabuga is among the historical cities of Russia. The major role in the development of the city as a tourist center is played by the Elabuga State Historical-Architectural and Art Museum-Reserve. The object of the research in the article is Elabuga as a medium-size historical city. The subject of the research is the activity of the museum-reserve which contributes to the preservation and development of the historical look of Elabuga and increases its attractiveness to tourists. The tourism attractiveness of Elabuga is obtained primarily through the presence of the perfectly preserved historical center of the city with the blocks of integral buildings of the 19th century. The Elabuga State Historical-Architectural and Art Museum-Reserve, which emerged in 1989, is currently an object of historical and cultural heritage of federal importance. Museum-reserves with their significant territories and rich historical, cultural and natural heritage have unique resources for the implementation of large partnership projects. Such projects are not only aimed at attracting a wide range of tourists, but also stimulate interest in the reserve from the business elite, municipal and regional authorities. The most famous example is the Spasskaya Fair which revived in 2008 in Elabuga. It was held in the city since the second half of the 19th century, and was widely known throughout Russia. The process of the revival and successful development of the fair can be viewed as the creation of a special tourist event contributing to the formation of new and currently important tourism products.

Tanks in the Spa Town. The New Book about the Events of the Year 1968 in Czechoslovakia

2019 ◽  
Vol 14 (1-2) ◽  
pp. 278-282
Author(s):  
Kirill A. Popov
Keyword(s):  
Fiftieth Anniversary ◽  
Warsaw Pact ◽  
Scientific Event ◽  
The Social ◽  
Prague Spring ◽  
The Subject ◽  
Scientific Terms ◽  
Selection Of ◽  
Regional Perspective ◽  
The Way

This review is devoted to the monograph by Jan Nedvěd “We do not decline our heads. The events of the year 1968 in Karlovy Vary”. The Karlovy Vary municipal museum coincided its publishing with the fiftieth anniversary of the Prague spring which, considering the way of the presentation, turned the book not only to scientific event but also to the social one. The book describes sociopolitical trends in the region before the year 1968, the development of the reformist movement, the invasion and advance of the armies of the Warsaw Pact countries, and finally the decline of the reformist mood and the beginning of the normalization. Working on his writing, the author deeply studied the materials of the local archive and gathered the unique selection of the photographs depicting the passage of the soviet army through the spa town and the protest actions of its inhabitants. In the meantime, Nedvěd takes undue freedom with scientific terms, and his selection of historiography raises questions. The author bases his research on the Czech papers and scarcely uses the books of Russian origin. He also did not study the subject of the participating of the GDR’s army in the operation Danube, although these troops were concentrated on the borders of Karlovy Vary region as well. Because of this decision, there are no materials from German archives or historiography in the monograph. In general, the work lacks the width of studying its subject, but it definitively accomplishes the task of depicting the Prague spring from the regional perspective.

scholarly journals A natural-stone city walk through Maastricht, the Netherlands

2011 ◽  
Vol 90 (2-3) ◽  
pp. 197-208
Author(s):  
C.W. Dubelaar ◽  
P.J.M. Kisters ◽  
J.W. Stroucken
Keyword(s):  
The Netherlands ◽  
Physical Properties ◽  
Natural Stone ◽  
Building Stones ◽  
Historical Building ◽  
Concise Overview ◽  
Natural Stones ◽  
The City ◽  
Selection Of ◽  
The Way

AbstractHaving been inspired by the leaflet, ‘Natuursteen in Maastricht. Aardrijkskunde in een oude stad’, written by P.J. Felder and published in 1977, we here present descriptions of the main types of natural stones applied in the city of Maastricht. A concise overview of the provenance area, mineralogy and physical properties of a selection of so-called historical building stones used in Maastricht, from Roman times onwards, is given. On a walk, starting at the Natuurhistorisch Museum Maastricht and ending at the Vrijthof, the main square of the city of Maastricht, details of building stones seen on the way are highlighted.

scholarly journals París visto por Cédric Klapisch. Entre la realidad y el simbolismo

2014 ◽  
Author(s):  
Alba Navarro
Keyword(s):  
The Public ◽  
Investigation Area ◽  
Palabras Clave ◽  
The City ◽  
Selection Of ◽  
The Way

La ciudad en el cine es un ámbito de investigación que propone analizar la imagen mostrada por los cineastas sobre las diferentes urbes a nivel mundial. París representa uno de los lugares estelares para el rodaje de películas. Además, es importante destacar su vinculación con el nacimiento y la maduración del séptimo arte y con el desarrollo de movimientos artísticos ligados a él. En este artículo nos sumergimos en el estudio de la película Paris (2008) de Cédric Klapisch, poniendo nuestra atención en las localizaciones elegidas por el autor para desarrollar sus historias y tratando de indagar en los motivos que le han llevado a elegir unos u otros emplazamientos con los diferentes iconos parisinos. Además, estudiamos el carácter simbólico de los diversos lugares y emblemas y su influencia en el relato fílmico. En definitiva, intentamos desgranar la visión que el propio autor tiene de la metrópolis y la manera en que se la traslada al público.Abstract: The city on cinema is an investigation area which proposes the analysis of the image shown by filmmakers about many cities worldwide. Paris represents one of the star places of film shooting. It is important too to highlight its connection with the origin and the growth of the seventh art and with the development of artistic movements linked to it. In this paper we dive into studying the film Paris (2008) by Cédric Klapisch, aiming our attention into the different places chosen by the author in order to develop its stories and trying to inquire the reason behind the selection of those sites with the parisian icons. Moreover, we study the symbolic character of the different places and emblems and their influence in the filmic narration. In short, we try to approach to the vision that the author has from the metropolis and the way he gives it to the public. Palabras clave: Cine y ciudad; cine y París; Paris de Cédric Klapisch; iconos parisinos. Keywords: Cinema and city; Cinema and Paris; Paris by Cédric Klapisch; Parisian icons.

scholarly journals Emerging Urban Forms

1995 ◽  
Author(s):  
Jos Boseman ◽  
◽  
Brian Carter ◽  
Keyword(s):  
Le Corbusier ◽  
Urban Forms ◽  
Post War ◽  
The City ◽  
The Way

Joseph Rykwert held a lecture in Zurich five or six years ago in which he posed the question "is the city an object or a field." This question seems to be answered very easily: when the buildings are high and standing next to one another like in Manhattan, it looks like an object; when you look to many post war extensions that were prepared in response to a lot of propaganda by the modem movement in Europe, it looks more like a field. For my generation, which was educated in the 1970's, this kind of doubleness of object and fields has doubled again. You must know that Joseph Rykwert, when he poses this question, thinks of the Unite &Habitation of Le Corbusier and the way Colin Rowe criticized it as an object, and he is on the side of the Smithsons and other younger people, who tried as architects to link these slab-like forms in networks that looked more like a field.

The Genesis of Reconciliation: The Reconciliation of Genesis

2006 ◽  
Vol 23 (1) ◽  
pp. 9-26 ◽  
Author(s):  
Clare Amos
Keyword(s):  
Seminal Work ◽  
Significant Challenge ◽  
The Subject ◽  
The Relationship ◽  
Selection Of ◽  
The Way

AbstractThe article begins by explaining the reason for the author's selection of the motif of reconciliation as a key to understanding Genesis in missional terms. She draws attention to the fact that though 'reconciliation' is often linked to mission, in reality the theological connections between mission and reconciliation are not always clearly spelt out. Additionally Robert Schreiter's seminal work on the subject has largely ignored the Old Testament.The article then identifies the key episodes in Genesis where reconciliation is explored, that between Jacob and Esau and that between Joseph and his brothers. She draws attention to the way that these two scenes are in effect the climax of a motif which has run through the entire book, the relationship between 'pairs', and particularly between brothers. The article suggests that the theme of reconciliation as it is explored in Genesis offers a significant challenge to a too ready focus on particularity.

Fashion in interwar France: The urban vision of Elsa Schiaparelli

2017 ◽  
Vol 28 (2) ◽  
pp. 159-172 ◽  
Author(s):  
Marylaura Papalas
Keyword(s):  
Building Materials ◽  
Urban Environments ◽  
The Real ◽  
Avant Garde ◽  
Feminine Beauty ◽  
Important Relationship ◽  
Interwar France ◽  
The Subject ◽  
The City ◽  
Collaborative Efforts

Elsa Schiaparelli’s avant-garde designs and her collaborative efforts with surrealist artists are the subject of most analyses of her work, which focus on themes of glamour, gender and the construction of a modern feminine beauty. Yet a number of lesser-known creations from the 1920s and 1930s, equally experimental in nature, reveal other progressive themes in the Italian-born designer’s oeuvre. References to the city in a number of her pieces, for example, provide a commentary on the important relationship between fashion, women and their urban environments. This article examines designs like the skyscraper silhouette, plastic accessories and new synthetic fabrics, echoing contemporary building materials, alongside the changing landscape of interwar Paris. Comparing the imagined city suggested in Schiaparelli’s sartorial creations with the real metropolis where these garments were worn, this study reveals fashion’s potential to express women’s desires for an improved urban reality.

Shaykh Mā’ al-'Aynayn al-Qalqam‛ in the folk-literature of the Spanish Sahara—I

1968 ◽  
Vol 31 (1) ◽  
pp. 113-136
Author(s):  
H. T Norris
Keyword(s):  
Subject Matter ◽  
Active Part ◽  
Daily Lives ◽  
Folk Literature ◽  
The Subject ◽  
Selection Of ◽  
The Way ◽  
Musical Styles

The Zawāyā, the lettered fraternity of the Westren Sahara, besides contributing works of merit to Arabic scholarship have also taken an active part in the evolution of Moorish oral and written folk-literature, in the subject-matter, the systemization and classification of poetic metres, the selection of Arabic verse in the various musical styles, and in the way that Islam, and in particular the ideas of the Ṣūfī orders of the Sahara and the Sudan, has become an integral part of the daily lives of the nomad and the oasis dweller alike.

scholarly journals PERCEÇÕES DO IMPÉRIO COLONIAL NA FICÇÃO CINEMATOGRÁFICA PORTUGUESA (1945-1974)

2016 ◽  
Vol 2 (3) ◽  
pp. 119
Author(s):  
Jorge Humberto dos Santos Seabra
Keyword(s):  
Second World War ◽  
World War ◽  
Global View ◽  
Palabras Clave ◽  
Colonial Empire ◽  
Global Vision ◽  
The Subject ◽  
Second World ◽  
Selection Of ◽  
The Way

O texto apresenta uma visão global sobre a forma como a ficção cinematográfica portuguesa, produzida durante o Estado Novo de Salazar e Caetano, refletiu sobre o império colonial entre o fim da Segunda Guerra Mundial e a queda do regime (1974). A investigação baseia-se em onze obras produzidas entre 1945 e 1974, foi organizada de forma a permitir uma perceção global, conduzindo ao aparecimento  de três núcleos temáticos fundamentais, a conquista, a colonização e o regresso do império. Desse percurso resultou uma conclusão fundamental, sintetizada na expressão uma África, dois impérios, cujo entendimento essencial passa por uma dupla conceção, luminosa e sombria, sobre o Império Colonial Português entre 1945 e 1974. PALAVRAS-CHAVE: Cinema e identidade; Cinema e Império; Colonialismo; Pós-colonialismo.  ABSTRACTThe paper presents a global view about the way as portuguese fiction films, produced along New State of Salazar and Caetano, reflected about colonial empire between the end of Second World War and the fall of the regime (1974). The investigation is based on the selection of eleven films produced between 1945 and 1974, and intents to give a global vision about the subject, mainly the appearence of three main themes, which are the conquest, colonization and the return of the empire. This research resulted on a conclusion, defined in the expression one África, two empires, which means that the existing empirial reality, between 1945 and 1974, must be understood under a shining or a dark way. KEYWORDS: Cinema and identity; Cinema and Empire; Coloniaism; Post-colonialism  RESUMENEl texto presenta una visión global sobre la forma en la que la ficción portuguesa, producida durante el Estado Novo de Salazar y Caetano, se ha reflejado sobre el imperio colonial entre el final de la Segunda Guerra Mundial y la caída del régimen (1974).  La investigación se basa en once obras producidas entre 1945 y 1974, y fue organizada por forma a permitir una percepción global, conduciendo al surgimiento de tres núcleos temáticos principales: la conquista, la colonización y el regreso del imperio. De este recorrido hemos llegado a una conclusión fundamental, sintetizada en la expresión una África, dos Imperios, cuyo entendimiento esencial pasa por una doble concepción, luminosa y sombría, del Imperio Colonial Portugués entre 1945 y 1974. PALABRAS CLAVE: Cine y identidad; Cine y império; Colonialismo; Poscolonialismo.

scholarly journals Battle of Poznan of 19 August 1704 between the Saxon and Swedish Armies

2020 ◽  
Vol 1 (2) ◽  
pp. p1
Author(s):  
Karol Koscielniak
Keyword(s):  
Small Droplet ◽  
Military Action ◽  
Xviii Century ◽  
Art Of War ◽  
The Subject ◽  
The Republic ◽  
The City ◽  
Great Northern War ◽  
Source Materials ◽  
The Art Of War

The battle of Pozna? between the Swedish army commanded by Johann August Meijerfelt and the Saxon army commanded by general Johann Matthias von der Schulenburg began at the dawn of 19 August 1704. The Saxon general had a major advantage in terms of army strength. He was therefore able to push back the Swedish army from the city, but did not capture the tower. The lack of broader researcher interest and the relatively high number of remaining source materials contributed to the tackling the subject. It is worth shedding light on all events that faded into the historical abyss and are forgotten, or worse, are enveloped by false myths. The Republic of Poland, which became an arena for direct military action in 1702-1709 during the Great Northern War, suffered much pain and destruction despite not officially participating in the war. It is perhaps this fact that makes the conflict and its effects difficult to find among valuable Polish historiography works that would objectively show its course and above all the art of war of the early XVIII century. This paper represents only a small droplet of what remains to be done in terms of describing each aspect of the Great Northern War.

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