Musica Ricercata is a piano piece written by György Sandor Ligeti, the composer of the 20th century. He composed this piece during his Hungarian period, which is considered to be Ligeti’s early ...period. Under the shadow of the censorship and pressure imposed on artists by cultural policies in Hungary, he tries to develop an innovative perspective. During this period Ligeti reimagining the main elements of music, such as sound, interval, melody and rhythm and composed the Musica Ricercata. The work consists of eleven movements and pitch class used in this work increases exponentially in each successive movement. In Movement I only one pitch class was used, except for the last four meassure, and the movement was shaped by the use of this pitch class in different ways. This study explores how the diversity in the Movement I of Musica Ricercata is achieved. To investigate this aim, after literature research and data collection, Movement I has been analyzed harmonically and technically; motivic and rhythmic studies are shown on the sheets. While doing this analysis, it was based on the pitch class and post-tonal theory terminology. Ligeti’s research on motive, register, articulation and rhythm, in order to eliminate the monotony, were examined. In addition to being limited and sequential, the structures created with certain materials were shown; and the primitive forms of the techniques such as rhythmic crescendo and static structures that the composer created in his later periods were determined.
In the study, the movie La Montana Sagrada (1973) was analyzed using the method of semiotic analysis. The works in the film have been analyzed in two sections as "Footprints of the Past" and "The ...Modern World". In this context, the reinterpretations of works such as Goya's 3 May, Michelangelo's Pieta, an anonymous work Gabrielle d'Estrees and Sister's Portrait and the works directly used by artist Manuel Falguerez were analyzed. In the section "Footsteps of the past", some of the most striking examples of art history are semiotically revived in the transfer of difficult concepts such as religion, politics and exploitation. In the "Modern world" part of the film, postmodern works were used as a means of transmission in re-questioning concepts such as religion, war and exploitation that evolved in a different direction after modernism. With this film, Jodorowsky made a narrative through the works and at the same time revealed one of the most interesting examples of performance art.
The totalitarian system of communism consistently controlled the flow of all information to the public about the real state of the country, the economy, and the actions of the government. This ...monopoly on information was seriously broken in August 1980. From the Lenin Shipyard in Gdansk and other striking factories on the coast, information about the events taking place began to spread. It spread so widely and effectively that it crossed national borders. The forms of reaching the public in the pre-Internet era were varied and depended on the ingenuity of the opposition. Underground and strike-period printing houses produced thousands of leaflets, posters and bulletins reporting on the days of the strikes and the pictures of photojournalists, showing crowds of people solidarily supporting the striking crews, ran around the world. Meanwhile, large painted inscriptions summarizing the strike demands appeared on the shipyard walls. Their number and consistent renewal made it impossible for the security forces to remove them completely from the sight of residents who curiously stopped by the walls. One of the people who took up the task of painting the slogans was Zygmunt Błażek, an employee of Gdańsk Unimor electronics factory. After the August strikes ended, Blażek gathered a group of enthusiastic young people around him, and he set out to paint slogans on the walls and sidewalks of the Tricity. The painted slogans “spoke” directly to the residents about their desire for freedom, bypassing the ubiquitous censorship and the hypocrisy of the public media. The painters’ work, often at risk of arrest, was immortalized by Tricity photographers, thanks to whom these dialogues with society reached the rest of the country.
The author attempts to revise the description of the processes taking place in Poland in the 1980s from the perspective of today. He addresses this problem from the standpoint of a participant, ...witness and observer looking backwards. The thesis, which is the basis for the re-evaluation, is the conviction, strengthened over time, that the source of many negative consequences visible recently in the field of artistic and socio-political culture, is a series of consecutive strategical mistakes and malpractices from the 1980s to the second decade of the 21st century.
The purpose of the article is to identify the specifics of the formation and development of stunt art in French cinema of the 1950-1970s; analyze the contribution to the process of formation in the ...European film industry stunt as a profession of French actors and performers of film stunts. Methodology. The scientific provisions of the article are reasoned at the level of the totality of general scientific methods of cognition and approaches of modern art history. The historical, analytical and typological methods were applied, which contributed to determining the specifics of the professionalization process of stunt art in the French film industry in the 1950-1970s, as well as the typological features of cinema stunts of the leading French stuntmen; a method of comparative analysis (to identify the characteristic signs of stunt activities before and after professionalization) and other. Scientific novelty. For the first time in Russian art criticism, the process of development and professionalization of stunt art in European cinema of the 1950-1970s has been studied. on the example of the evolution of French historical stunt scenes (films ―cloak and sword‖), adventure and detective films; reviewed and analyzed the professional activities of C. Carlier, R. Julien, J. Delamard and other French stuntmen of this period; revealed the influence of American stunt performers, the specifics of the development of French stunt art, as well as characterized the evolution of stunt techniques, the use of existing ones and the development of new safety methods for their implementation. Conclusions. The content and nature of professional stunt activities in the context of cinematic art are non-static, since its dynamism is determined by the stunt status in the continuous qualification system. The stunt man is the stunt developer, stunt coordinator (stunt director), and the head of the stunt troupe. In the 50–70s. XX century in French cinema, a complex process of professionalization of stunt art took place, the motivation of which was the need to assimilate professional knowledge, skills, abilities, and expand the experience of professional activity. The specifics of the French movie stunts by C. Carlier, R. Julien, J. Delamard, and I. Cipher are manifested in originality, exposure to the viewer with a degree of risk, and a specially refined aesthetics.
The objects, memorabilia and photographs that have been collected at the European Solidarity Centre (ECS) since 2008 relate primarily to the period of activity of the democratic opposition from 1970 ...to 1989. The core of the ECS art collection is the art of the 1980s related to the independent culture movement, which resulted from the rejection of official, government-backed art after the imposition of Martial Law. In 2009, a collection of drawings made in most unusual circumstances was added to the collection of the European Solidarity Centre. Almost 400 bearded male faces were drawn by Andrzej Trzaska, an artist from Gdańsk. The author of the portraits was interned in Strzebielinek, near Wejherowo, for over six months. He was arrested for his involvement with the Trade Union Solidarity. The artist created not only male portraits in the internment camp, he also represented the cells, the yard and the camp buildings. He is also the author of many camp ‘postage stamps,’ which were a characteristic element of the creativity of internees not only in Strzebielinek. Andrzej Trzaska was an artist who had the gift of versatility: he was involved in painting, ceramics, drawing and jewellery making; perhaps this very feature combined with the urge to create allowed him, in the situation of internment, confinement and isolation, to produce an extraordinary record of the time. He studied painting at the State Higher School of Visual Arts in Wrocław and in Gdańsk; he took part in many exhibitions in Poland and abroad. Portraits from Srzebielinek are available on the website of the European Solidarity Centre. Many of the people drawn are still waiting to be identified. This year (2021), to mark the anniversary of the introduction of Martial Law, an exhibition of Andrzej Trzaska’s scanned portraits has been organized in Strzebielinek.
The decolonization of sub-Saharan Africa was an opportunity intelligently speculated by the communist regime in Bucharest. Unlike the other communist states, regimented to the ideological current ...imposed by Moscow, Romania promoted an independent foreign policy and sought to establish economic relations with all developing states, regardless of their political orientation. But the events of December 1989 radically changed Romania’s policy towards sub-Saharan states. This article proposes an analysis of the way in which the economic relations between Romania and the sub-Saharan states evolved before the events of December 1989 and in the first two decades of the transition to a market economy.
Starting with the independence process of all the territories once colonies and later, overseas territories of the different states of Western Europe, Latin America meant an association of unique ...paradoxes. Portugal and Spain have dominated in the past, especially from a linguistic and religious perspective, the current space that became a varied cultural environment. In this context, the aim of this study is to capture, in the introductory part, characteristics of the Latin American complex identity(reflected, for example, in the names associated with this space of civilization, in political circumstances and social issues, in particular). In addition, another purpose is to highlight the way in which these aspects are considered in the prose of modern Latin American writers, Rodrigo Rey Rosa and Héctor Abad Faciolince. At the same time, emphasizing the scourge of discrimination or inequality, but especially the perpetual violence, the study concludes with a reference (also found in the literary discourse of the two texts chosen for analysis, Los sordos and El olvido que seremos) to the ethical spirit, but also to the feeling of empathy—subjects approached by both writers—in a world that seems more and more fragmented and depersonalized, as if it has been occupied by a continuous stigma of imbalance.
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