In January 1921, Svetokret, the first radical avant-garde magazine in the newly founded Kingdom of Serbs, Croats, and Slovenes, was launched in Ljubljana by Virgil Poljanski (1898-1947). This unique edition was a herald of Zenit (1921-1926), a mouthpiece of the ambitious zenitist movement, embodied by Poljanski's elder brother Ljubomir Micić (1895-1971). This article examines the dynamics of relations between the protagonists of the Slovenian interwar avant-garde and the leading zenitists, as documented in correspondence, newspaper reports, and, above all, in the magazine and publishing production of the avant-garde movements themselves. In the first phase, these relations revolved around Anton Podbevšek and his group, which had gathered around the Trije labodje magazine (The Three Swans, 1922), but cooperation remained limited. In the second, more productive phase, zenitist ideas were partially embraced by the group of Slovenian constructivists led by Avgust Černigoj and Ferdo Delak. Zenitism and its magazine were certainly an important source of information and inspiration for Slovenian avant-garde artists (e.g., the poet Srečko Kosovel) but, despite several attempts, the cooperation did not produce lasting results before Zenit was banned in 1926. In 1927, the Ljubljana-based Tank magazine, edited by the ambitious Delak and supported by Micić, tried to continue the zenitist legacy. Unfortunately, its existence was short-lived.
1921年1月，维吉尔·波尔扬斯基(1898-1947)在卢布尔雅那创刊了《Svetokret》，这是新成立的塞尔维亚、克罗地亚和斯洛文尼亚王国的第一本激进前卫杂志。这个独特的版本是泽尼特(1921-1926)的先驱，是雄心勃勃的泽尼特运动的喉舌，由波尔扬斯基的哥哥Ljubomir micicki(1895-1971)代表。本文考察了斯洛文尼亚两次世界大战之间先锋派的主角和领先的天神主义者之间的动态关系，这些关系记录在通信、报纸报道中，最重要的是，在先锋派运动本身的杂志和出版作品中。在第一阶段，这些关系围绕着安东Podbevšek和他的团队，他们聚集在Trije labodje杂志(三只天鹅，1922年)周围，但合作仍然有限。在第二个更富有成效的阶段，由Avgust Černigoj和Ferdo Delak领导的斯洛文尼亚建构主义团体部分接受了天顶主义思想。Zenitism及其杂志无疑是斯洛文尼亚先锋派艺术家(如诗人sre ko Kosovel)的重要信息和灵感来源，但是，尽管多次尝试，这种合作并没有产生持久的结果，直到1926年Zenitism被禁。1927年，总部设在卢布尔雅那的《坦克》杂志，由雄心勃勃的德拉克编辑，米西奇支持，试图延续天顶主义者的传统。不幸的是，它的存在是短暂的。
{"title":"From Svetokret to Tank: Zenitism and the Slovenian interwar avant-garde (1921-1927)","authors":"M. Dović","doi":"10.5937/zbaku2109091d","DOIUrl":"https://doi.org/10.5937/zbaku2109091d","url":null,"abstract":"In January 1921, Svetokret, the first radical avant-garde magazine in the newly founded Kingdom of Serbs, Croats, and Slovenes, was launched in Ljubljana by Virgil Poljanski (1898-1947). This unique edition was a herald of Zenit (1921-1926), a mouthpiece of the ambitious zenitist movement, embodied by Poljanski's elder brother Ljubomir Micić (1895-1971). This article examines the dynamics of relations between the protagonists of the Slovenian interwar avant-garde and the leading zenitists, as documented in correspondence, newspaper reports, and, above all, in the magazine and publishing production of the avant-garde movements themselves. In the first phase, these relations revolved around Anton Podbevšek and his group, which had gathered around the Trije labodje magazine (The Three Swans, 1922), but cooperation remained limited. In the second, more productive phase, zenitist ideas were partially embraced by the group of Slovenian constructivists led by Avgust Černigoj and Ferdo Delak. Zenitism and its magazine were certainly an important source of information and inspiration for Slovenian avant-garde artists (e.g., the poet Srečko Kosovel) but, despite several attempts, the cooperation did not produce lasting results before Zenit was banned in 1926. In 1927, the Ljubljana-based Tank magazine, edited by the ambitious Delak and supported by Micić, tried to continue the zenitist legacy. Unfortunately, its existence was short-lived.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"65 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72844247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay analyses and interprets the scores, recordings, and media used in Knittel and King's The Heart Piece - Double Opera (1999) and Stulgińska's Three Women for three women and ten instruments (2017), two semi-improvised Polish operas using performance art and interaction between sound, text, choreography, lighting, theatrical form and electronic medium. In Stuglińska's modern music theatre, the listener follows different sound sources and the setting: choreography, performers' and speakers' arrangement on stage, props and lighting, whose intensity dictates the form. The Heart Piece chamber opera is a two - Polish and American - composers' take on Müller's play Herzstück, with separate movements in their native languages. Music and text create an interactive setting, and their notation and semantics make music both seen and heard. These works use the concept of hybridization and, in Wolf's terminology, intracompositional intermediality, where different means of expression create an intermedial discourse, a complementary whole and a new syncretistic medium.
{"title":"Krzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music","authors":"Monika Karwaszewska","doi":"10.5937/zbaku2109136k","DOIUrl":"https://doi.org/10.5937/zbaku2109136k","url":null,"abstract":"This essay analyses and interprets the scores, recordings, and media used in Knittel and King's The Heart Piece - Double Opera (1999) and Stulgińska's Three Women for three women and ten instruments (2017), two semi-improvised Polish operas using performance art and interaction between sound, text, choreography, lighting, theatrical form and electronic medium. In Stuglińska's modern music theatre, the listener follows different sound sources and the setting: choreography, performers' and speakers' arrangement on stage, props and lighting, whose intensity dictates the form. The Heart Piece chamber opera is a two - Polish and American - composers' take on Müller's play Herzstück, with separate movements in their native languages. Music and text create an interactive setting, and their notation and semantics make music both seen and heard. These works use the concept of hybridization and, in Wolf's terminology, intracompositional intermediality, where different means of expression create an intermedial discourse, a complementary whole and a new syncretistic medium.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"32 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84737331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Reflecting on the centenary of the birth of Zenitism, this essay examines how the movement engaged with stereotypes about the Slavic Orient, and in particular the discourse on Balkanism. The European orientalist reading of the Balkans became especially profound in years surrounding the World War I. Seeking to invert derogatory characterisations of the Balkan Peninsula, Zenitists would embark on a mission to "Balkanise Europe" by presenting the artist from the East as a rejuvenating, revolutionary force emerging from a cultural tabula rasa. Zenitism sought to destabilise the dominant Orient-Occident discourse by establishing parallels between existing negative stereotypes of the Balkans and the aesthetic tropes of the European avantgarde. Specifically, Zenitists established the Balkan "Barbarogenius" as the archetypal modernist primitive - precisely the figure conjured by the European intelligentsia as the saviour for its listless modern condition. In addition, the Zenitist movement established an analogy between the hallmark fragmentation of the Balkans and the cultural cacophony of the avant-garde. The political and aesthetic strategies of the movement, the authors assert, bear a striking similarity with those of the Black Atlantic, and its 'in-betweenness'-its ambition to straddle two opposing worlds. Organised around its eponymous journal Zenit, which was conceptualised as "the first Balkan journal in Europe and the first European journal in the Balkans," Zenitism employed European avant-garde aesthetic strategies while simultaneously rejecting European claims to cultural supremacy. For Yugoslav, Soviet, and Western European audiences, the journal had two parallel goals: the creative "Balkanisation" of Europe, and a commitment to dismantling Yugoslav "nesting orientalisms" by fighting against the reproduction of negative stereotypes among the region's own inhabitants. Against a backdrop of European crisis and a global demand for a renewed emancipatory struggle, the ambition of Zenitism holds strong appeal today.
{"title":"Zenitism and orientalism","authors":"I. Glišić, Tijana Vujosevic","doi":"10.5937/zbaku2109029g","DOIUrl":"https://doi.org/10.5937/zbaku2109029g","url":null,"abstract":"Reflecting on the centenary of the birth of Zenitism, this essay examines how the movement engaged with stereotypes about the Slavic Orient, and in particular the discourse on Balkanism. The European orientalist reading of the Balkans became especially profound in years surrounding the World War I. Seeking to invert derogatory characterisations of the Balkan Peninsula, Zenitists would embark on a mission to \"Balkanise Europe\" by presenting the artist from the East as a rejuvenating, revolutionary force emerging from a cultural tabula rasa. Zenitism sought to destabilise the dominant Orient-Occident discourse by establishing parallels between existing negative stereotypes of the Balkans and the aesthetic tropes of the European avantgarde. Specifically, Zenitists established the Balkan \"Barbarogenius\" as the archetypal modernist primitive - precisely the figure conjured by the European intelligentsia as the saviour for its listless modern condition. In addition, the Zenitist movement established an analogy between the hallmark fragmentation of the Balkans and the cultural cacophony of the avant-garde. The political and aesthetic strategies of the movement, the authors assert, bear a striking similarity with those of the Black Atlantic, and its 'in-betweenness'-its ambition to straddle two opposing worlds. Organised around its eponymous journal Zenit, which was conceptualised as \"the first Balkan journal in Europe and the first European journal in the Balkans,\" Zenitism employed European avant-garde aesthetic strategies while simultaneously rejecting European claims to cultural supremacy. For Yugoslav, Soviet, and Western European audiences, the journal had two parallel goals: the creative \"Balkanisation\" of Europe, and a commitment to dismantling Yugoslav \"nesting orientalisms\" by fighting against the reproduction of negative stereotypes among the region's own inhabitants. Against a backdrop of European crisis and a global demand for a renewed emancipatory struggle, the ambition of Zenitism holds strong appeal today.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87230529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ljubomir Micić was the founder of Zenitism and the editor of Zenit, the international avant-garde magazine published in Zagreb and Belgrade from 1921 to 1926. Sharply criticising a decadent European culture after the Great War and accepting progressive avant-garde ideas, Micić praised the New art founded on the principles of NEO-primitivism and Russian constructivism, following the technological and scientific progress of the 20th century. Analysing the Zenitist Balkanisation of Europe project led by Barbarogenius, I will point out to Micić's attitude towards the old continent, his efforts to oppose the image of the Balkans as "the inner other of Europe", and his aspiration to revive European culture with the primordial Balkan energy. Declaring the Balkans the sixth continent, the geographical space of the poets, Micić postulated a model of cultural barbarism by which he stood against the established primacy of Western European nations over those that were characterised "less civilised". This paper aims to point out to Micić's understanding of the relationship between the Balkans and Europe, as well as the so-called primitive-civilised opposition, in order to highlight internationalism, pacifism and cosmopolitanism as the key elements of his Zenitosophy
{"title":"The Europe-Balkan and primitive-civilised antinomies in Micić's Zenit Magazine","authors":"Dijana Metlić","doi":"10.5937/zbaku2109046m","DOIUrl":"https://doi.org/10.5937/zbaku2109046m","url":null,"abstract":"Ljubomir Micić was the founder of Zenitism and the editor of Zenit, the international avant-garde magazine published in Zagreb and Belgrade from 1921 to 1926. Sharply criticising a decadent European culture after the Great War and accepting progressive avant-garde ideas, Micić praised the New art founded on the principles of NEO-primitivism and Russian constructivism, following the technological and scientific progress of the 20th century. Analysing the Zenitist Balkanisation of Europe project led by Barbarogenius, I will point out to Micić's attitude towards the old continent, his efforts to oppose the image of the Balkans as \"the inner other of Europe\", and his aspiration to revive European culture with the primordial Balkan energy. Declaring the Balkans the sixth continent, the geographical space of the poets, Micić postulated a model of cultural barbarism by which he stood against the established primacy of Western European nations over those that were characterised \"less civilised\". This paper aims to point out to Micić's understanding of the relationship between the Balkans and Europe, as well as the so-called primitive-civilised opposition, in order to highlight internationalism, pacifism and cosmopolitanism as the key elements of his Zenitosophy","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88694304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bavljenje umetnošću je lični rizik - razgovor sa profesorkom Radom Čupić","authors":"Danica Bićanić","doi":"10.5937/zbaku2109010b","DOIUrl":"https://doi.org/10.5937/zbaku2109010b","url":null,"abstract":"","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85299911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Stogodišnjica časopisa Zenit (1921-1926-2021) kroz razgovor sa profesorkom emeritom Kristinom Pašut","authors":"Irina Subotić","doi":"10.5937/zbaku2109020s","DOIUrl":"https://doi.org/10.5937/zbaku2109020s","url":null,"abstract":"","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85583117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article Saariaho's music - with a focus on Lichtbogenis explored from the perspective of spatiality. First, Saariaho's connection with Finland is discussed and in particular how Finnish space and time have influenced her music.Together with space, there is the relation between time and light. In fact, the creative process by Saariaho is strongly influenced by visual experiences. The title of Lichtbogen refers to the Nordic lights, and therefore it is an interesting example. In her article on similarities between architecture and music, Saariaho defines with great clarity her music: "Capturing time and giving it form." In this phrase she connects the aspect of time and space with musical form. Understanding how Saariaho'sconception of musical form brings the concept of a multidimensional network to the discussion. Saariaho developed this concept for Verblendungen, and the same principle has been used for an analysis of Lichtbogen. This analysis is not a score analysis, instead, it is based on the listening experience of several recordings. As Saariaho is concerned with the perception of her music, a listening-based graphic analysis is proposed based on listening. It captures an illuminating perspective on the form of Lichtbogen. Given the importance of timbre in Saariaho's music, and the way how timbre and form are connected, the question of her relation with spectral music is unavoidable. Saariaho lived in Paris during the '80s, when early spectralism made important developments. And her music is indeed deeply influenced by the spectral approach in many ways. However, there are differences, especially regarding her attitude towards musical form. Finally the discussion about space is taken to the perspective of electronics and how they contribute to the expression of space. In Lichtbogen, the amplification is used to make those sounds on the threshold of audibility audible, and the reverb is used to create virtual spaces. The concept of space is integrated in the composition itself. In conclusion, the concept of space is central to Saariaho's creativity. This connection is approached in this article from various perspectives.It illustrates how important the space is, in connection with time and light, in Saariaho'scompositional work.
{"title":"Spatiality as creativity in the music of Kaija Saariaho: A reflection with a focus on 'Lichtbogen'","authors":"H. Van","doi":"10.5937/zbaku2109155h","DOIUrl":"https://doi.org/10.5937/zbaku2109155h","url":null,"abstract":"In this article Saariaho's music - with a focus on Lichtbogenis explored from the perspective of spatiality. First, Saariaho's connection with Finland is discussed and in particular how Finnish space and time have influenced her music.Together with space, there is the relation between time and light. In fact, the creative process by Saariaho is strongly influenced by visual experiences. The title of Lichtbogen refers to the Nordic lights, and therefore it is an interesting example. In her article on similarities between architecture and music, Saariaho defines with great clarity her music: \"Capturing time and giving it form.\" In this phrase she connects the aspect of time and space with musical form. Understanding how Saariaho'sconception of musical form brings the concept of a multidimensional network to the discussion. Saariaho developed this concept for Verblendungen, and the same principle has been used for an analysis of Lichtbogen. This analysis is not a score analysis, instead, it is based on the listening experience of several recordings. As Saariaho is concerned with the perception of her music, a listening-based graphic analysis is proposed based on listening. It captures an illuminating perspective on the form of Lichtbogen. Given the importance of timbre in Saariaho's music, and the way how timbre and form are connected, the question of her relation with spectral music is unavoidable. Saariaho lived in Paris during the '80s, when early spectralism made important developments. And her music is indeed deeply influenced by the spectral approach in many ways. However, there are differences, especially regarding her attitude towards musical form. Finally the discussion about space is taken to the perspective of electronics and how they contribute to the expression of space. In Lichtbogen, the amplification is used to make those sounds on the threshold of audibility audible, and the reverb is used to create virtual spaces. The concept of space is integrated in the composition itself. In conclusion, the concept of space is central to Saariaho's creativity. This connection is approached in this article from various perspectives.It illustrates how important the space is, in connection with time and light, in Saariaho'scompositional work.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"8 16","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72388242","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The fundamental idea of this article is to connect the gender antagonism in Krleža's border works of the first dramatic cycle, the rarely performed plays On the Eve (1919) and Adam and Eve (1922) with the tradition of tabooing sexuality from the end of the 19th century and the beginning of the 20th century, by the inventiveness of the sociological analyses of that time, and the achievements of modern evolutionary psychology. The psychographic points of a "couple in a sexual snuggle" (Gašparović, 1977), dissolve in the characters as bearers of universal symbols. Although enclosed in the apparent triviality of exaggerated psychologisation (Donat, 1970), Krleža's malefemale miniatures through zoometaphors and mythico-dramatic parallels raise the question of how love relationships from the early 20th century managed to maintain the dominance of the spoken word over the physical and the emotional.
{"title":"Krleža's unfulfilled love or comfortable restlessness of gender conflicts","authors":"Anđela Vidović","doi":"10.5937/zbaku2109203v","DOIUrl":"https://doi.org/10.5937/zbaku2109203v","url":null,"abstract":"The fundamental idea of this article is to connect the gender antagonism in Krleža's border works of the first dramatic cycle, the rarely performed plays On the Eve (1919) and Adam and Eve (1922) with the tradition of tabooing sexuality from the end of the 19th century and the beginning of the 20th century, by the inventiveness of the sociological analyses of that time, and the achievements of modern evolutionary psychology. The psychographic points of a \"couple in a sexual snuggle\" (Gašparović, 1977), dissolve in the characters as bearers of universal symbols. Although enclosed in the apparent triviality of exaggerated psychologisation (Donat, 1970), Krleža's malefemale miniatures through zoometaphors and mythico-dramatic parallels raise the question of how love relationships from the early 20th century managed to maintain the dominance of the spoken word over the physical and the emotional.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"92 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77207419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since ancient times, the concept of ethos has been a distinguished part of cultural heritage, living in various spheres of social, cultural, intellectual and religious life. During the Renaissance, the encounter of rhetorical categories and Christian doctrine opened the space for the manifestation of ethos in sacred music. Ethos is important as a rhetorical category, therefore, as a way to achieve persuasiveness, in which the theory of ethos of the Greek rhetorician Hermogenes of Tarsus will be consulted. Following this theory, which was also known in the Renaissance, a series of counterpoint methods will take form, which may indicate the manifestation of certain subcategories of ethos in music. Having in mind Hermogenes' concept of ethos on the one hand, and the significance of ethos in the Christian figure of Mary on the other, this paper examines a chain of manifestations and, given Hermogenes' subcategories, offers an in-depth reading of the text and music in the motet from the end of the 16th century. It is an early work of Claudio Monteverdi on the words of the Ave Maria prayer, which, according to its religious function and meaning, represents not only a concise appeal to the ethos of believers, but also the ethical foundation of Marian devotions.
{"title":"The ethical power of music in the 'Ave Maria' motet by Claudio Monteverdi","authors":"Senka Belić","doi":"10.5937/zbaku2109174b","DOIUrl":"https://doi.org/10.5937/zbaku2109174b","url":null,"abstract":"Since ancient times, the concept of ethos has been a distinguished part of cultural heritage, living in various spheres of social, cultural, intellectual and religious life. During the Renaissance, the encounter of rhetorical categories and Christian doctrine opened the space for the manifestation of ethos in sacred music. Ethos is important as a rhetorical category, therefore, as a way to achieve persuasiveness, in which the theory of ethos of the Greek rhetorician Hermogenes of Tarsus will be consulted. Following this theory, which was also known in the Renaissance, a series of counterpoint methods will take form, which may indicate the manifestation of certain subcategories of ethos in music. Having in mind Hermogenes' concept of ethos on the one hand, and the significance of ethos in the Christian figure of Mary on the other, this paper examines a chain of manifestations and, given Hermogenes' subcategories, offers an in-depth reading of the text and music in the motet from the end of the 16th century. It is an early work of Claudio Monteverdi on the words of the Ave Maria prayer, which, according to its religious function and meaning, represents not only a concise appeal to the ethos of believers, but also the ethical foundation of Marian devotions.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"125 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77658179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this paper is to get an insight into a part of Josip Kulundžić's expressionist drama through the analysis of the play Midnight and the playwright's attitude towards drama and dramatic and theatrical theories of the Italian playwright Luigi Pirandello. Starting from the assumption that Kulundžić's expressionist dramatic opus is one of the paradigmatic and poetically most significant dramatic opuses of Croatian and Serbian dramatic expressionism, the first part of the paper will systematise Josip Kulundžić's expressionist dramatic opus, show its features and value, and through the analyses of the play Midnight mark the author's attitude towards pirandelism as a significant phenomenon on the then world drama and theatre scene. This revalues the significance and role of Josip Kulundžić and his dramatic work within the framework of Croatian and Serbian literature of the first half of the 20th century.
{"title":"Expressionism in the 'Midnight' by Josip Kulundžić","authors":"Ivan Trojan, Jurica Vuco","doi":"10.5937/zbaku2109187t","DOIUrl":"https://doi.org/10.5937/zbaku2109187t","url":null,"abstract":"The aim of this paper is to get an insight into a part of Josip Kulundžić's expressionist drama through the analysis of the play Midnight and the playwright's attitude towards drama and dramatic and theatrical theories of the Italian playwright Luigi Pirandello. Starting from the assumption that Kulundžić's expressionist dramatic opus is one of the paradigmatic and poetically most significant dramatic opuses of Croatian and Serbian dramatic expressionism, the first part of the paper will systematise Josip Kulundžić's expressionist dramatic opus, show its features and value, and through the analyses of the play Midnight mark the author's attitude towards pirandelism as a significant phenomenon on the then world drama and theatre scene. This revalues the significance and role of Josip Kulundžić and his dramatic work within the framework of Croatian and Serbian literature of the first half of the 20th century.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82053125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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