Significance and peculiarity of the appearance and influence that Friedrich Hölderlin had with his poetic work, both on the whole thematic-motive structure of later poetry (indications of this turn were already present in theoretical form with Diderot, but completely deprived of their true poetic articulation until Lamartine), as well as the character of the philosophical foundation of the new dialectical reversal of thought, brought by German classical philosophy, are thematised in this paper as an organically consistent and continuous process within the framework of the indicated problem, from attempts to enter the world of Hellenism, as a fundamental source of creative unity of poetry and reality, thought and action, battle and truth, to the disappointment in the possibility of objectifying the poetic experience into a coherent basis for reconciling the contradictions of the then social and political situation, which was expressed in the existential gap between alienated everyday life and his spiritual essence, which, in the end, led to Hölderlin's insight into the futility of his own poetic testimony and the role of poetry as a harbinger of the oncoming deduction-out-of-the-oblivion of the being of the existent in its original unity.
{"title":"Topology of narrative in the poetry of Friedrich Hölderlin","authors":"Radovan Popović","doi":"10.5937/zbaku2109214p","DOIUrl":"https://doi.org/10.5937/zbaku2109214p","url":null,"abstract":"Significance and peculiarity of the appearance and influence that Friedrich Hölderlin had with his poetic work, both on the whole thematic-motive structure of later poetry (indications of this turn were already present in theoretical form with Diderot, but completely deprived of their true poetic articulation until Lamartine), as well as the character of the philosophical foundation of the new dialectical reversal of thought, brought by German classical philosophy, are thematised in this paper as an organically consistent and continuous process within the framework of the indicated problem, from attempts to enter the world of Hellenism, as a fundamental source of creative unity of poetry and reality, thought and action, battle and truth, to the disappointment in the possibility of objectifying the poetic experience into a coherent basis for reconciling the contradictions of the then social and political situation, which was expressed in the existential gap between alienated everyday life and his spiritual essence, which, in the end, led to Hölderlin's insight into the futility of his own poetic testimony and the role of poetry as a harbinger of the oncoming deduction-out-of-the-oblivion of the being of the existent in its original unity.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88423933","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 paper deals with determining whether school as a planned agent of socialisation influences the development of secondary school students' interest in theatre. We observed school through the prism of the theory of socialisation, because the socialisation function of education is one of the most important for society and that is why the school is considered one of the most important agents, i.e. the transmitter of what socialization actually is. The conducted multidisciplinary research first included an analysis of the content of strategic and legal acts, as well as bylaws in the field of education, which aimed to determine whether and to what extent the state prescribes theatre as an acceptable way of socialisation. Considering that the research was conducted during 2015, the mentioned documents have been changed to a greater or lesser extent. For these reasons, and for the purposes of this paper, a comparative analysis was performed. In order to get an insight into whether and in what way the school carries out the prescribed content related to the theatre, a survey was realised with a formalised (standardised) written questionnaire and individual structured interviews were conducted with employees in schools where the survey was organised. A total of 648 secondary school students from Novi Sad were examined. We start from the assumption that theatre will be defined as acceptable in the overall educational content of socialisation within the framework of public practical policy in education depending on how important it is to the state, more precisely to the 'ruling forces'. In accordance with the educational policy, school will transfer the prescribed amount of content related to the theatre to the given extent. The results of this research prove that the level of representation of theatre in the educational content of socialisation is extremely low, which leads to the fact that school as a planned agent of socialisation has a minor impact on the formation and development of secondary school students' interest in theatre.
{"title":"The influence of school as a planned agent of socialisation on the development of secondary school students' interest in theatre","authors":"Dušica Dragin","doi":"10.5937/zbaku2109271d","DOIUrl":"https://doi.org/10.5937/zbaku2109271d","url":null,"abstract":"This paper deals with determining whether school as a planned agent of socialisation influences the development of secondary school students' interest in theatre. We observed school through the prism of the theory of socialisation, because the socialisation function of education is one of the most important for society and that is why the school is considered one of the most important agents, i.e. the transmitter of what socialization actually is. The conducted multidisciplinary research first included an analysis of the content of strategic and legal acts, as well as bylaws in the field of education, which aimed to determine whether and to what extent the state prescribes theatre as an acceptable way of socialisation. Considering that the research was conducted during 2015, the mentioned documents have been changed to a greater or lesser extent. For these reasons, and for the purposes of this paper, a comparative analysis was performed. In order to get an insight into whether and in what way the school carries out the prescribed content related to the theatre, a survey was realised with a formalised (standardised) written questionnaire and individual structured interviews were conducted with employees in schools where the survey was organised. A total of 648 secondary school students from Novi Sad were examined. We start from the assumption that theatre will be defined as acceptable in the overall educational content of socialisation within the framework of public practical policy in education depending on how important it is to the state, more precisely to the 'ruling forces'. In accordance with the educational policy, school will transfer the prescribed amount of content related to the theatre to the given extent. The results of this research prove that the level of representation of theatre in the educational content of socialisation is extremely low, which leads to the fact that school as a planned agent of socialisation has a minor impact on the formation and development of secondary school students' interest in theatre.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84383513","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 matters of the October Revolution are present on several levels in Zenit from the first issue until the closing of the magazine. The October Revolution appears as a topic in Zenit in discussions about Soviet Avant-garde art, as well as the sociopolitical consequences of the Revolution, but also as a symbol of the destruction of old civilisation, one of the fundamental programme principles of Zenitism. This paper analyses the strategies for shaping the concept and discourse on the October Revolution in Zenit. First, the intertextual connections between the texts that speak about the Soviet artistic Avant-garde and the texts about the political Avant-garde of the October Revolution are reconstructed, i.e. their ideological and aesthetic unity as a product of Ljubomir Micić's editorial policy. Then, the second level of analysis occurs through a comparative reading of the programmatic principles of Zenithism and the ideas of the representatives of the Soviet political Avant-garde - Vladimir Ilyich Lenin, Leon Davidovich Trotsky and Anatoly Vasilyevich Lunacharsky. The aim of this paper is to examine how the figures of revolutionary leaders and artists, and the reception of their works and texts in the Zenit magazine, shaped the Zenitist understanding of the historical role of Avant-garde art as new art. Furthermore, special attention is paid to the interpretation of Zenit's artistic ideology in the context of revolutionary Marxism, i.e. to the analysis of implicit ambivalences between artistic individuality, on the one hand, and the Avant-garde and Revolution, as collective events, on the other.
{"title":"Silhouettes of the Revolution: Ideas of V. I. Lenin, L. D. Trotsky and A. V. Lunacharsky in Zenith (1921-1926)","authors":"Jelena Lalatović","doi":"10.5937/zbaku2109068l","DOIUrl":"https://doi.org/10.5937/zbaku2109068l","url":null,"abstract":"The matters of the October Revolution are present on several levels in Zenit from the first issue until the closing of the magazine. The October Revolution appears as a topic in Zenit in discussions about Soviet Avant-garde art, as well as the sociopolitical consequences of the Revolution, but also as a symbol of the destruction of old civilisation, one of the fundamental programme principles of Zenitism. This paper analyses the strategies for shaping the concept and discourse on the October Revolution in Zenit. First, the intertextual connections between the texts that speak about the Soviet artistic Avant-garde and the texts about the political Avant-garde of the October Revolution are reconstructed, i.e. their ideological and aesthetic unity as a product of Ljubomir Micić's editorial policy. Then, the second level of analysis occurs through a comparative reading of the programmatic principles of Zenithism and the ideas of the representatives of the Soviet political Avant-garde - Vladimir Ilyich Lenin, Leon Davidovich Trotsky and Anatoly Vasilyevich Lunacharsky. The aim of this paper is to examine how the figures of revolutionary leaders and artists, and the reception of their works and texts in the Zenit magazine, shaped the Zenitist understanding of the historical role of Avant-garde art as new art. Furthermore, special attention is paid to the interpretation of Zenit's artistic ideology in the context of revolutionary Marxism, i.e. to the analysis of implicit ambivalences between artistic individuality, on the one hand, and the Avant-garde and Revolution, as collective events, on the other.","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":"78232875","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 role of women in Islamic countries is very different from the notion of women in Europe, because the religious worldview has been dominant for centuries so much that it has subdued all other spheres of society. The struggle for equality, which has been going on for decades in the so-called Western world, in Islamic countries is just getting started. Consequently, it is not surprising that the portrayal of women and everything related to them in the art and literature of Islamic countries is limited in relation to the West. Islam is a very strict religion and forbids the display of objects that lead to fetishism, such as human figures and cult images, because it represents a threat to the creative power of Allah. In the past, Islamic women did not have the opportunity to affirm themselves in the arts, because despite the fact that Islam does not support "discrimination" between men and women, at the same time it does not defend the idea of "equality". However, the postmodern era brings a revival, and today they are finally enjoying their rights and are greatly represented on the world art scene. By presenting historical themes, the artists in a special way convey emotional messages about the suffering of individual members of the Islamic faith, and in addition define and reexamine patriarchy, feminism and fundamentalism through their works. The themes of suffering are best depicted in the work of two Islamic women, Shirin Neshat and Mona Hatoum, so this paper will talk about their opus and the way in which Muslim women are affirmed in the modern age through historical-artistic and sociological approach.
{"title":"Affirmation of Islamic artists on the example of Shirin Neshat and Mona Hatoum","authors":"T. Tomić","doi":"10.5937/zbaku2109253t","DOIUrl":"https://doi.org/10.5937/zbaku2109253t","url":null,"abstract":"The role of women in Islamic countries is very different from the notion of women in Europe, because the religious worldview has been dominant for centuries so much that it has subdued all other spheres of society. The struggle for equality, which has been going on for decades in the so-called Western world, in Islamic countries is just getting started. Consequently, it is not surprising that the portrayal of women and everything related to them in the art and literature of Islamic countries is limited in relation to the West. Islam is a very strict religion and forbids the display of objects that lead to fetishism, such as human figures and cult images, because it represents a threat to the creative power of Allah. In the past, Islamic women did not have the opportunity to affirm themselves in the arts, because despite the fact that Islam does not support \"discrimination\" between men and women, at the same time it does not defend the idea of \"equality\". However, the postmodern era brings a revival, and today they are finally enjoying their rights and are greatly represented on the world art scene. By presenting historical themes, the artists in a special way convey emotional messages about the suffering of individual members of the Islamic faith, and in addition define and reexamine patriarchy, feminism and fundamentalism through their works. The themes of suffering are best depicted in the work of two Islamic women, Shirin Neshat and Mona Hatoum, so this paper will talk about their opus and the way in which Muslim women are affirmed in the modern age through historical-artistic and sociological approach.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91185430","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}
One of the most important representatives of our culture in the 1920's is Ljubomir Micić, who connects a wide range of activities. His activity as the editor and founder of Zenit, poet, writer, critic, theorist, collector and organiser of exhibitions, attracted the attention of the world's avant-garde. Micić's project entitled Archipenko - the New Plastic, an album-monograph, appeared in Belgrade in 1923. The monograph had a print-run of 100 copies; it includes Archipenko's artistic opus until 1923 and represents one of the world's earliest, according to Zoran Markuš perhaps even the oldest monograph about sculptor Alexander Archipenko. An additional feature of this monograph is the cooperation between the writer and the world artist, because Archipenko himself participated in the preparation of this publication; he was the one to choose reproductions - 13 sculptures and 2 drawings. On this occasion, Micić wrote the introductory text, and according to Irina Subotić, it is a "manifesto of zenithist sculpture, seen through the optics of this sculptor's oeuvre". The introductory text is entitled Towards Optico-plastic, and Micić writes it in Belgrade on the 20th September. Here he introduces a new theoretical concept of optico-plastic, and in a specific literary way argues that Archipenko's art is one step towards optico-plastic, as he significantly defines a new style of absolute plasticity. Micić combines oculocentric aesthetics and optical illusionism dimension in the new concept, anticipating the third dimension which only eye can perceive. It is clear that Micić possessed the ability to anticipate, not only new concepts in the domain of theoretical and literary discourse, but also future world-renowned artists, even if they were just in their earliest artistic phases at the time. that Markuš What is of additional importance for this term is connects it with the term optical art, emphasising that optico-plastic, four decades earlier, anticipates the term op art. Archipenko exhibited his works in Belgrade in April 1924, as part of the First Zenit International Exhibition of New Art at the Stanković Music School. The international importance of the Zenit magazine, as well as the effects of the Archipenko-Micić cooperation, is evidenced by the fact that soon after the publication of the monograph, Archipenko sent an invitation to Zenit to join the International Society of New Artists in New York, led by Catherine Dreyer and Wassily Wassilyevich Kandinsky and whose one of the presidents was Marcel Duchamp (Henri-Robert-Marcel Duchamp). The lavish talent of these two artists, Alexander Archipenko and Ljubomir Micić, deserves continuous and additional research, as well as new interpretations of their joint work.
{"title":"Contextualisation of optico-plastic: The effects of Alexander Archipenko and Ljubomir Micić's cooperation","authors":"Amra Latifić","doi":"10.5937/zbaku2109079l","DOIUrl":"https://doi.org/10.5937/zbaku2109079l","url":null,"abstract":"One of the most important representatives of our culture in the 1920's is Ljubomir Micić, who connects a wide range of activities. His activity as the editor and founder of Zenit, poet, writer, critic, theorist, collector and organiser of exhibitions, attracted the attention of the world's avant-garde. Micić's project entitled Archipenko - the New Plastic, an album-monograph, appeared in Belgrade in 1923. The monograph had a print-run of 100 copies; it includes Archipenko's artistic opus until 1923 and represents one of the world's earliest, according to Zoran Markuš perhaps even the oldest monograph about sculptor Alexander Archipenko. An additional feature of this monograph is the cooperation between the writer and the world artist, because Archipenko himself participated in the preparation of this publication; he was the one to choose reproductions - 13 sculptures and 2 drawings. On this occasion, Micić wrote the introductory text, and according to Irina Subotić, it is a \"manifesto of zenithist sculpture, seen through the optics of this sculptor's oeuvre\". The introductory text is entitled Towards Optico-plastic, and Micić writes it in Belgrade on the 20th September. Here he introduces a new theoretical concept of optico-plastic, and in a specific literary way argues that Archipenko's art is one step towards optico-plastic, as he significantly defines a new style of absolute plasticity. Micić combines oculocentric aesthetics and optical illusionism dimension in the new concept, anticipating the third dimension which only eye can perceive. It is clear that Micić possessed the ability to anticipate, not only new concepts in the domain of theoretical and literary discourse, but also future world-renowned artists, even if they were just in their earliest artistic phases at the time. that Markuš What is of additional importance for this term is connects it with the term optical art, emphasising that optico-plastic, four decades earlier, anticipates the term op art. Archipenko exhibited his works in Belgrade in April 1924, as part of the First Zenit International Exhibition of New Art at the Stanković Music School. The international importance of the Zenit magazine, as well as the effects of the Archipenko-Micić cooperation, is evidenced by the fact that soon after the publication of the monograph, Archipenko sent an invitation to Zenit to join the International Society of New Artists in New York, led by Catherine Dreyer and Wassily Wassilyevich Kandinsky and whose one of the presidents was Marcel Duchamp (Henri-Robert-Marcel Duchamp). The lavish talent of these two artists, Alexander Archipenko and Ljubomir Micić, deserves continuous and additional research, as well as new interpretations of their joint work.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"72 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79472285","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}
Cultural goods are recorded, valorised, processed, preserved, conserved and restored because of the artistic, cultural-historical and documentary values attributed to them. In addition to these, they have other values and functions that must be taken into account. For example, the religious value of a cult object, the emotional value of a certain object in personal ownership, material value and others. A wide range of materials and artistic techniques requires specific knowledge that must be possessed by experts in the field of conservation and restoration. The subject of interest in this paper is education in the field of conservation and restoration of works of fine and applied arts. How are those who will deal with conservation and restoration of such values educated in the modern world? What knowledge and skills do they need and what training models are there? Do conservators of works of art stand out among conservators of different specialisations? What is the tradition of conservation education in Serbia? How can academies and faculties of art be places of quality education for conservators-restorers? The paper analyses different European models of conservation education, as well as the changes that have occurred with the shift of conservation as a craft to a defined profession which requires higher education. It is also discussed how such changes, through university education reforms, have affected the level of skills and knowledge conservators need, as well as whether these changes have led to the recognition of conservation and restoration of cultural heritage as a science. Among the various possibilities for the education of conservators at higher education institutions in Serbia, master academic studies in Conservation and Restoration of Works of Fine and Applied Arts at the Academy of Arts in Novi Sad is analysed as a case study.
{"title":"Education of conservators-restorers at academies and faculties of art","authors":"D. Korolija-Crkvenjakov, Dubravka Đukanović","doi":"10.5937/zbaku2109286k","DOIUrl":"https://doi.org/10.5937/zbaku2109286k","url":null,"abstract":"Cultural goods are recorded, valorised, processed, preserved, conserved and restored because of the artistic, cultural-historical and documentary values attributed to them. In addition to these, they have other values and functions that must be taken into account. For example, the religious value of a cult object, the emotional value of a certain object in personal ownership, material value and others. A wide range of materials and artistic techniques requires specific knowledge that must be possessed by experts in the field of conservation and restoration. The subject of interest in this paper is education in the field of conservation and restoration of works of fine and applied arts. How are those who will deal with conservation and restoration of such values educated in the modern world? What knowledge and skills do they need and what training models are there? Do conservators of works of art stand out among conservators of different specialisations? What is the tradition of conservation education in Serbia? How can academies and faculties of art be places of quality education for conservators-restorers? The paper analyses different European models of conservation education, as well as the changes that have occurred with the shift of conservation as a craft to a defined profession which requires higher education. It is also discussed how such changes, through university education reforms, have affected the level of skills and knowledge conservators need, as well as whether these changes have led to the recognition of conservation and restoration of cultural heritage as a science. Among the various possibilities for the education of conservators at higher education institutions in Serbia, master academic studies in Conservation and Restoration of Works of Fine and Applied Arts at the Academy of Arts in Novi Sad is analysed as a case study.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82499303","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 creative derivatives phrase has in itself two terms: creativity (lat. creatus - having been created) and derivation (lat. derivatio - derivation, departure). Creativity presupposes the realisation of the new, the non-existent. Derivation, on the other hand, means transition, formation or arrangement. A derivative is what is derived or comes from something else (like gasoline which is a petroleum derivative). Creative derivations would therefore be processes in which a new is derived from the existing; procedures of rearranging the existing, conversion (transitioning) from one system to another. There are two basic requirements that are necessary for the realisation of these and such actions: an adequate poetic means and a common denominator of two or more phenomena, i.e. two or more systems that are brought into contact. We define the poetic means here in Jakobson's terms as the axis of combination (syntagm) and the axis of selection (paradigm). The paper systematises the poetic possibilities of artistic modeling, which is based on the template of already existing works of art. Different versions of the approach to modern and postmodern practice of taking over the already existing form and content aspects of a work of art are briefly explained and described. When choosing examples, the author adheres to the principle of representativeness instead of compendial comprehensiveness. The outcome of the paper should be twofold. On the one hand, the aim is to get to know and understand the poetics of taking over, which is one of the preconditions for aesthetic pleasure and cognitive insight when encountering works of art of that provenance. On the other hand, the work should be useful to students in their own creative work. The poetic means exhibited in it should facilitate a creative approach to the inexhaustible source of tradition.
{"title":"Creative derivatives the poetics of derivation and its formative assumptions","authors":"Jagor Bučan","doi":"10.5937/zbaku2109233b","DOIUrl":"https://doi.org/10.5937/zbaku2109233b","url":null,"abstract":"The creative derivatives phrase has in itself two terms: creativity (lat. creatus - having been created) and derivation (lat. derivatio - derivation, departure). Creativity presupposes the realisation of the new, the non-existent. Derivation, on the other hand, means transition, formation or arrangement. A derivative is what is derived or comes from something else (like gasoline which is a petroleum derivative). Creative derivations would therefore be processes in which a new is derived from the existing; procedures of rearranging the existing, conversion (transitioning) from one system to another. There are two basic requirements that are necessary for the realisation of these and such actions: an adequate poetic means and a common denominator of two or more phenomena, i.e. two or more systems that are brought into contact. We define the poetic means here in Jakobson's terms as the axis of combination (syntagm) and the axis of selection (paradigm). The paper systematises the poetic possibilities of artistic modeling, which is based on the template of already existing works of art. Different versions of the approach to modern and postmodern practice of taking over the already existing form and content aspects of a work of art are briefly explained and described. When choosing examples, the author adheres to the principle of representativeness instead of compendial comprehensiveness. The outcome of the paper should be twofold. On the one hand, the aim is to get to know and understand the poetics of taking over, which is one of the preconditions for aesthetic pleasure and cognitive insight when encountering works of art of that provenance. On the other hand, the work should be useful to students in their own creative work. The poetic means exhibited in it should facilitate a creative approach to the inexhaustible source of tradition.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83122819","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 paper analyses the essay entitled "The Word as a Principle" by Yvan Goll (1891-1950), published in Zenit (Issue 9, November 1921), which shows the non European tendency of Avant-garde poetics. In his text, Goll emphasises the need to create a new form of poetry quoting the verses of the Japanese poet Daigaku Horiguchi (1892-1981), one of the most important Japanese poets and translators of the last century. As the son of a distinguished diplomat, a rare bilingual poet among the Japanese at the time, he published poems in French and Japanese. After reviewing research on Zenit conducted in Japan so far, the first part of this paper determines the original text of the mentioned poem. In December 1921, Horiguchi published in Paris his first collection of Tankas in French. The foreword to it was written by the famous French poet Paul Fort (1872-1960). Goll, however, did not take it from there, but from the manuscript of his anthology Les Cinq Continents, which was published in Paris in 1922. The chosen song by Horiguchi is not traditional, but shows a new poetic spirit. Although it was written in five lines, which is reminiscent of the tanka form (5; 7; 5; 7; 7), the poet introduced a new topic: how the Japanese feel in a foreign country. In order to clarify the nature of Goll's connection with Horiguchi, a detailed description of Horiguchi's life is given, focusing on his stay abroad from 1911 to 1925. It can be seen from his biography that the meeting with the French painter Marie Laurencin (1883-1956) in Madrid in 1915 marked Horiguchi's poetic turn: his interest shifted from the poetics of symbolism to the Avant-garde, as the painter introduced him to Guillaume Apollinaire's (1880-1918) poetry. After staying in foreign countries (Mexico, Belgium, Switzerland, Spain, Brazil and Romania), when he returned to Japan in 1925, Horiguchi published the Crowd under the Moon anthology, which contains translations of French songs from Parnassians to Avant-garde poets, including Yvan Goll. Although no traces of their connection can be established, it is clear that they both felt poetically related and close, with mutual respect. Finally, Goll's understanding of Japanese poetry in the context of Avant-garde poetics is considered in comparison with Miloš Crnjanski's essay entitled "For Free Verse" (1922), which also mentions Japanese poetry. While Goll emphasises the simplicity and conciseness of Japanese poetry, Crnjanski points to the improvisation as its significant feature. While Goll is searching for new poetry that is in line with living fast in the high-tech society, Crnjanski sees the everlasting connection of man with nature, which Japanese poetry is all about.
本文分析了伊凡·戈尔(1891-1950)在《泽尼特》(1921年11月第9期)上发表的一篇题为《作为原则的词》的文章，这篇文章显示了先锋派诗学的非欧洲倾向。在他的文章中，戈尔引用了日本诗人堀口大作(1892-1981)的诗句，强调有必要创造一种新的诗歌形式。堀口大作是上世纪最重要的日本诗人和翻译家之一。他的父亲是一位杰出的外交官，是当时日本少有的双语诗人，他用法语和日语发表了诗歌。本文第一部分在回顾了日本迄今为止对《泽尼特》的研究之后，确定了这首诗的原文。1921年12月，堀口在巴黎出版了他的第一部法语唐卡集。它的前言是由法国著名诗人保罗·福特(1872-1960)写的。然而，戈尔并没有从那里取材，而是从他1922年在巴黎出版的选集《五大洲》(Les Cinq continent)的手稿中取材。堀口选的这首歌不是传统的，而是一种新的诗歌精神。虽然它是用五行写的，这让人想起了唐卡的形式(5;7;5;7;7)，诗人引入了一个新的话题:日本人在异国他乡的感受。为了阐明戈尔与堀口的关系的本质，本文对堀口的生活进行了详细的描述，重点是1911年至1925年他在国外的生活。从堀口的传记中可以看出，1915年在马德里与法国画家玛丽·劳伦森(Marie Laurencin, 1883-1956)的会面标志着堀口的诗歌转向:他的兴趣从象征主义的诗学转向了先锋派，这位画家向他介绍了纪尧姆·阿波利奈尔(Guillaume Apollinaire, 1880-1918)的诗歌。在国外(墨西哥、比利时、瑞士、西班牙、巴西和罗马尼亚)待了一段时间后，堀口于1925年回到日本，出版了《月光下的人群》选集，其中收录了从帕纳西亚人到先锋诗人(包括伊万·戈尔)的法语歌曲的翻译。虽然他们之间的联系没有任何痕迹可以确定，但很明显，他们都觉得彼此之间有诗意的联系和亲密，相互尊重。最后，将戈尔在先锋派诗学背景下对日本诗歌的理解与米洛什·克伦扬斯基的《为了自由诗》(1922)进行比较，后者也提到了日本诗歌。虽然戈尔强调日本诗歌的简单和简洁，但Crnjanski指出即兴创作是其重要特征。当戈尔在高科技社会中寻找与快速生活相适应的新诗时，克伦扬斯基看到了日本诗歌所表达的人与自然的永恒联系。
{"title":"Japanese voices in Zenit: Daigaku Horiguchi","authors":"Kajoko Jamasaki","doi":"10.5937/zbaku2109122j","DOIUrl":"https://doi.org/10.5937/zbaku2109122j","url":null,"abstract":"This paper analyses the essay entitled \"The Word as a Principle\" by Yvan Goll (1891-1950), published in Zenit (Issue 9, November 1921), which shows the non European tendency of Avant-garde poetics. In his text, Goll emphasises the need to create a new form of poetry quoting the verses of the Japanese poet Daigaku Horiguchi (1892-1981), one of the most important Japanese poets and translators of the last century. As the son of a distinguished diplomat, a rare bilingual poet among the Japanese at the time, he published poems in French and Japanese. After reviewing research on Zenit conducted in Japan so far, the first part of this paper determines the original text of the mentioned poem. In December 1921, Horiguchi published in Paris his first collection of Tankas in French. The foreword to it was written by the famous French poet Paul Fort (1872-1960). Goll, however, did not take it from there, but from the manuscript of his anthology Les Cinq Continents, which was published in Paris in 1922. The chosen song by Horiguchi is not traditional, but shows a new poetic spirit. Although it was written in five lines, which is reminiscent of the tanka form (5; 7; 5; 7; 7), the poet introduced a new topic: how the Japanese feel in a foreign country. In order to clarify the nature of Goll's connection with Horiguchi, a detailed description of Horiguchi's life is given, focusing on his stay abroad from 1911 to 1925. It can be seen from his biography that the meeting with the French painter Marie Laurencin (1883-1956) in Madrid in 1915 marked Horiguchi's poetic turn: his interest shifted from the poetics of symbolism to the Avant-garde, as the painter introduced him to Guillaume Apollinaire's (1880-1918) poetry. After staying in foreign countries (Mexico, Belgium, Switzerland, Spain, Brazil and Romania), when he returned to Japan in 1925, Horiguchi published the Crowd under the Moon anthology, which contains translations of French songs from Parnassians to Avant-garde poets, including Yvan Goll. Although no traces of their connection can be established, it is clear that they both felt poetically related and close, with mutual respect. Finally, Goll's understanding of Japanese poetry in the context of Avant-garde poetics is considered in comparison with Miloš Crnjanski's essay entitled \"For Free Verse\" (1922), which also mentions Japanese poetry. While Goll emphasises the simplicity and conciseness of Japanese poetry, Crnjanski points to the improvisation as its significant feature. While Goll is searching for new poetry that is in line with living fast in the high-tech society, Crnjanski sees the everlasting connection of man with nature, which Japanese poetry is all about.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90561961","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}
Traditionally, a painting is seen as a window into the world. How one perceives the world is at the same time their world view, and in painting, the latter is typically depicted using art tools. The author emphasizes the frequency of the motif of windowpane in Pierre Bonnard's painting, presenting it as the painter's poetic tool. The motif of a window is analyzed in three aspects: formal, teleological and ontological. The formal aspect refers to the context of artistic facts. The window is a format, and the format in painting has formative properties and forms a morphogenetic field. The teleological aspect refers to the windowpane as a means by which the purpose of uniting external and internal space is achieved in a painted scene. Such purposefulness reduces the various underlying components of the exterior and interior to a common form denominator through artistic matching (shape, tone, color, texture, etc.). Finally, the ontological aspect is linked to Bonnard's definition of his own work as "pantheistic painting". From the mentioned purposefulness arises the same identical nature of what is depicted. Everything shown in the painting belongs to the same ontological order; everything is given equal attention; everything mirrors, coincides and overlaps with each other. In a word, formative, iconographic and worldview aspects are united by the corresponding purposefulness of this motif.
{"title":"A room with a view: Poetics of a windowpane in painting by Pierre Bonnard","authors":"Jagor Bučan","doi":"10.5937/zbaku2008169b","DOIUrl":"https://doi.org/10.5937/zbaku2008169b","url":null,"abstract":"Traditionally, a painting is seen as a window into the world. How one perceives the world is at the same time their world view, and in painting, the latter is typically depicted using art tools. The author emphasizes the frequency of the motif of windowpane in Pierre Bonnard's painting, presenting it as the painter's poetic tool. The motif of a window is analyzed in three aspects: formal, teleological and ontological. The formal aspect refers to the context of artistic facts. The window is a format, and the format in painting has formative properties and forms a morphogenetic field. The teleological aspect refers to the windowpane as a means by which the purpose of uniting external and internal space is achieved in a painted scene. Such purposefulness reduces the various underlying components of the exterior and interior to a common form denominator through artistic matching (shape, tone, color, texture, etc.). Finally, the ontological aspect is linked to Bonnard's definition of his own work as \"pantheistic painting\". From the mentioned purposefulness arises the same identical nature of what is depicted. Everything shown in the painting belongs to the same ontological order; everything is given equal attention; everything mirrors, coincides and overlaps with each other. In a word, formative, iconographic and worldview aspects are united by the corresponding purposefulness of this motif.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71213295","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":"The role of a playwright in the development of theater audience","authors":"Dušica Dragin","doi":"10.5937/zbaku2008254d","DOIUrl":"https://doi.org/10.5937/zbaku2008254d","url":null,"abstract":"","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88807155","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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