Franz Liszt's cosmopolitan spirit, extroverted character and philosophical approach to creation are fully evident in his compositions. In contrast, the opus of his close friend Charles-Valentin Alkan, the relatively neglected "Berlioz of the Piano", shows the traces of his introverted and seemingly misanthropic temperament. In the 19th century, the solo concerto acquired new characteristics, reflected both in the performer's technique and in the general creative approach. It is generally known that Liszt's Piano Concerto No. 1 in E-Flat Major is an important evolutionary step forward in this genre, while Alkan's Concerto for Solo Piano represents a cross-genre hybrid of a kind. In this paper we will attempt to answer the question whether it is possible to find common ground between these two extraordinary composers, and if so, determine what it is. In addition, we will try to identify the reciprocal influences between them, the existence of which might be inferred from the historical and biographical data.
李斯特的世界主义精神、外向性格和哲学式的创作方式在他的作品中充分体现出来。相比之下，他的好友Charles-Valentin Alkan的作品《钢琴的柏辽兹》(Berlioz of the Piano)则表现出了他内向和看似厌世的气质。在19世纪，独奏协奏曲获得了新的特点，这反映在表演者的技术和一般的创作方法上。众所周知，李斯特的降e大调第一钢琴协奏曲是这一流派向前发展的重要一步，而阿尔坎的钢琴独奏协奏曲则代表了一种跨流派的混合。在本文中，我们将试图回答是否有可能在这两位杰出的作曲家之间找到共同点，如果有的话，确定它是什么。此外，我们将试图确定他们之间的相互影响，其存在可能推断从历史和传记资料。
{"title":"An extrovert and a misanthrope: Comparative analysis of virtuoso aspects and the impact of personalities in Franz Liszt's Piano concerto No. 1 in E-Flat Major and Alkan's concerto for Piano solo","authors":"M. Golubović, Nikola Komatović","doi":"10.5937/zbaku2008097g","DOIUrl":"https://doi.org/10.5937/zbaku2008097g","url":null,"abstract":"Franz Liszt's cosmopolitan spirit, extroverted character and philosophical approach to creation are fully evident in his compositions. In contrast, the opus of his close friend Charles-Valentin Alkan, the relatively neglected \"Berlioz of the Piano\", shows the traces of his introverted and seemingly misanthropic temperament. In the 19th century, the solo concerto acquired new characteristics, reflected both in the performer's technique and in the general creative approach. It is generally known that Liszt's Piano Concerto No. 1 in E-Flat Major is an important evolutionary step forward in this genre, while Alkan's Concerto for Solo Piano represents a cross-genre hybrid of a kind. In this paper we will attempt to answer the question whether it is possible to find common ground between these two extraordinary composers, and if so, determine what it is. In addition, we will try to identify the reciprocal influences between them, the existence of which might be inferred from the historical and biographical data.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"97-111"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71213208","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}
Stone sculpture from the period between the beginning of the 8th and the end of the 10th centuries is characteristic for interlace compositions adorning church furniture and architectural elements of the time. In studying Pre-Romanesque stone fragments with interlace motifs and their interpretations in scholarly literature uncoordinated terminology becomes prominent. From the very beginnings of archaeology and art history in Croatia, in the 19th century terms for motifs carved in stone on Early Medieval interlace reliefs were introduced. In the Eastern Adriatic area motifs have usually been given names by translation of terminology from foreign literature (Italian or German). Different authors use various variants in describing motifs executed in interlace. By taking into account compositions of motifs on Early Medieval interlace reliefs and their interpretation in scholarly literature, inconsistency in the terminology of relief motifs is noted. Nomenclature of motifs, i.e. terminology, is truly important in order for to be able to discuss certain manifestations, but sometimes it could lead the researcher onto the wrong path. Differentiation of terms and objective coordination of different terminology for the same concepts, i.e. equal terminology for different concepts is necessary, always bearing in mind the period in which a certain term is used as well as its true origin.
{"title":"Pre-Romanesque interlace sculpture: A problem of stone motif terminology","authors":"Miona Miliša","doi":"10.5937/zbaku2008234m","DOIUrl":"https://doi.org/10.5937/zbaku2008234m","url":null,"abstract":"Stone sculpture from the period between the beginning of the 8th and the end of the 10th centuries is characteristic for interlace compositions adorning church furniture and architectural elements of the time. In studying Pre-Romanesque stone fragments with interlace motifs and their interpretations in scholarly literature uncoordinated terminology becomes prominent. From the very beginnings of archaeology and art history in Croatia, in the 19th century terms for motifs carved in stone on Early Medieval interlace reliefs were introduced. In the Eastern Adriatic area motifs have usually been given names by translation of terminology from foreign literature (Italian or German). Different authors use various variants in describing motifs executed in interlace. By taking into account compositions of motifs on Early Medieval interlace reliefs and their interpretation in scholarly literature, inconsistency in the terminology of relief motifs is noted. Nomenclature of motifs, i.e. terminology, is truly important in order for to be able to discuss certain manifestations, but sometimes it could lead the researcher onto the wrong path. Differentiation of terms and objective coordination of different terminology for the same concepts, i.e. equal terminology for different concepts is necessary, always bearing in mind the period in which a certain term is used as well as its true origin.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"234-253"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71212924","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}
New and seminal approaches to the historical avant-garde have begun on the global level in the 1960s, continued and expanded particularly in the 1970s, with different, sometimes even radically opposite interpretations. The determination, meaning and importance of the avant-garde were very much the product of the great divides in world society at the time. Therefore, not all historical material was available for research, and important social context and political conditions could not be openly discussed and clearly emphasized everywhere. The end of the 20th century introduced new interests, new orientations and a general rejection of major leftist ideas, which the avant-garde had historically belonged to. Therefore it is not surprising that the decline of research in avant-garde movements did not bring about a comprehensive reading of various cultural, particularly leftist phenomena from the first half of the 20th century. The case of the Yugoslav revue Zenit (Zagreb, Belgrade 1921-1926) and the entire movement of Zenitism had a particular social and cultural position. Completely marginalized and almost forgotten after World War II, it was only identified with the controversial personality of its founder Ljubomir Micic (1895-1971), considered in post-war Yugoslavia to be a nationalist and a conservative. Comparative studies of similar European avant-garde revues, their histories, objectives, poetics, manifestations and practices were leading in early 1980s towards a new, broader and much deeper reading of the Zenit revue and its significance for the Yugoslav cultural milieu of the 1920s. With various types of activities, a large number of collaborators and written manifestos with particular ideological determination, it became obvious that Zenit was not an isolated occurrence, but was very much connected to almost all progressive periodicals, intellectuals, writers and artists all over the world. It had a great humanistic, however utopian mission ahead: modernization of the entire society through the social role of international culture and art.
{"title":"Research on the avant-garde(s): Case study: Zenitism and the Central European contacts","authors":"Irina Subotić","doi":"10.5937/zbakum1907018s","DOIUrl":"https://doi.org/10.5937/zbakum1907018s","url":null,"abstract":"New and seminal approaches to the historical avant-garde have begun on the global level in the 1960s, continued and expanded particularly in the 1970s, with different, sometimes even radically opposite interpretations. The determination, meaning and importance of the avant-garde were very much the product of the great divides in world society at the time. Therefore, not all historical material was available for research, and important social context and political conditions could not be openly discussed and clearly emphasized everywhere. The end of the 20th century introduced new interests, new orientations and a general rejection of major leftist ideas, which the avant-garde had historically belonged to. Therefore it is not surprising that the decline of research in avant-garde movements did not bring about a comprehensive reading of various cultural, particularly leftist phenomena from the first half of the 20th century. The case of the Yugoslav revue Zenit (Zagreb, Belgrade 1921-1926) and the entire movement of Zenitism had a particular social and cultural position. Completely marginalized and almost forgotten after World War II, it was only identified with the controversial personality of its founder Ljubomir Micic (1895-1971), considered in post-war Yugoslavia to be a nationalist and a conservative. Comparative studies of similar European avant-garde revues, their histories, objectives, poetics, manifestations and practices were leading in early 1980s towards a new, broader and much deeper reading of the Zenit revue and its significance for the Yugoslav cultural milieu of the 1920s. With various types of activities, a large number of collaborators and written manifestos with particular ideological determination, it became obvious that Zenit was not an isolated occurrence, but was very much connected to almost all progressive periodicals, intellectuals, writers and artists all over the world. It had a great humanistic, however utopian mission ahead: modernization of the entire society through the social role of international culture and art.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"36 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76016877","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 paper examines the possibility of exercising the right to culture by meeting the needs in the field of culture within the institutional system in Serbia. The unclear definition of the right to culture and the assumption that cultural needs exist "per se" within public practical policies, leads to cause-and-effect mechanisms and systems that result in the decline in the interest of citizens for art and culture, and ultimately in an unexpressed and undeveloped need in the field of culture in a large number of citizens. In the second part of the paper, the results of the empirical research carried out in the Novi Sad theaters are presented, and they point out that a theater with its cultural activities satisfies only the existing cultural needs. Such an arrangement of the institutional cultural system implies indirect discrimination against the rest of the population.
{"title":"The right to culture or the right to develop cultural needs","authors":"Dušica Dragin","doi":"10.5937/zbakum1907032d","DOIUrl":"https://doi.org/10.5937/zbakum1907032d","url":null,"abstract":"The paper examines the possibility of exercising the right to culture by meeting the needs in the field of culture within the institutional system in Serbia. The unclear definition of the right to culture and the assumption that cultural needs exist \"per se\" within public practical policies, leads to cause-and-effect mechanisms and systems that result in the decline in the interest of citizens for art and culture, and ultimately in an unexpressed and undeveloped need in the field of culture in a large number of citizens. In the second part of the paper, the results of the empirical research carried out in the Novi Sad theaters are presented, and they point out that a theater with its cultural activities satisfies only the existing cultural needs. Such an arrangement of the institutional cultural system implies indirect discrimination against the rest of the population.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"115 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76153823","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":"O pokušajima letenja iznad - razgovor sa profesorom Petrom Marjanovićem","authors":"D. Stojmenović","doi":"10.5937/zbakum1907008s","DOIUrl":"https://doi.org/10.5937/zbakum1907008s","url":null,"abstract":"","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"47 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72860371","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 paper focuses on the research of virtual aspects of the narrative in the Velimir Ilisevic's painting Povratak II. The transmedial narratological reading of Ilisevic's artwork requires the application of analytical tools of cognitive narratology. Framing borders and framing, polychronic narration, and contradictory narratives represent some of the fundamental research tools for interpreting the virtual world. The aim of this research is the interpretation of the virtual narrative in the painting Povratak II, whose morphological concept is presented by the title being the framing border that frames the historiographic and psychological cognitive frame, through discourses on fascism, revisionism and painters - the tamers of their time.
{"title":"A virtual story in the Velimir Ilišević's painting Povratak II","authors":"Željka Jungić","doi":"10.5937/zbakum1907047j","DOIUrl":"https://doi.org/10.5937/zbakum1907047j","url":null,"abstract":"The paper focuses on the research of virtual aspects of the narrative in the Velimir Ilisevic's painting Povratak II. The transmedial narratological reading of Ilisevic's artwork requires the application of analytical tools of cognitive narratology. Framing borders and framing, polychronic narration, and contradictory narratives represent some of the fundamental research tools for interpreting the virtual world. The aim of this research is the interpretation of the virtual narrative in the painting Povratak II, whose morphological concept is presented by the title being the framing border that frames the historiographic and psychological cognitive frame, through discourses on fascism, revisionism and painters - the tamers of their time.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79071918","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 article analyzes the work of four authors who dealt wit h the application of Jakobson's model, presented in the text Linguistics and Poetics (1966), to theatrical art. Jakobson's division and processing of the six functions of language (emotive, referential, poetic, phatic, metalingual, conative) undergoes the necessary changes and modifications once when instead to poetry, it tries to be applied to reading the theater. Roman Ingarden, Anne Ubersfeld, Vladan Svacov and Manfred Pfister have tried to apply Jakobson's model in various ways and in different directions, often by incorrectly applying his analysis exclusively to the drama component of the theater, thus completely neglecting the performance. At the same time, a more detailed analysis of their models shows the plethora of possible applications of Jakobson to the language of the theater, as well as the perspective of the further elaboration. The article concludes with the identification of potential, more adequate loci for the application of Jakobson's theories, focusing primarily on the poetic function.
{"title":"Linguistics, poetics, theater and drama","authors":"J. Žmak","doi":"10.5937/zbakum1907147z","DOIUrl":"https://doi.org/10.5937/zbakum1907147z","url":null,"abstract":"The article analyzes the work of four authors who dealt wit h the application of Jakobson's model, presented in the text Linguistics and Poetics (1966), to theatrical art. Jakobson's division and processing of the six functions of language (emotive, referential, poetic, phatic, metalingual, conative) undergoes the necessary changes and modifications once when instead to poetry, it tries to be applied to reading the theater. Roman Ingarden, Anne Ubersfeld, Vladan Svacov and Manfred Pfister have tried to apply Jakobson's model in various ways and in different directions, often by incorrectly applying his analysis exclusively to the drama component of the theater, thus completely neglecting the performance. At the same time, a more detailed analysis of their models shows the plethora of possible applications of Jakobson to the language of the theater, as well as the perspective of the further elaboration. The article concludes with the identification of potential, more adequate loci for the application of Jakobson's theories, focusing primarily on the poetic function.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"173 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72673836","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 apparently antagonistic relation 'tradition - innovation' lays at the foundation of European art music as permanent transfer, as a complementary binomial. In higher education music institutions, there is also a strong connection between tradition and innovation. This paper focuses on the creation of two Romanian composers, Tiberiu Olah and Anatol Vieru (who were teachers at the Bucharest Conservatory, as well), aiming to emphasize their personal ways of balancing the new and the old. The modal universe, with its immense potential, becomes their object of study and their most important source of inspiration. The tie with the musical past is manifest, in the works of Olah and Vieru, in three main directions: a) the innovative absorption of aspects of Romanian oral tradition; b) the return to consonance; c) the references to the tradition of European art music.
{"title":"The symbiosis between tradition and modernity in the works of Tiberiu Olah and Anatol Vieru","authors":"Olguța Lupu","doi":"10.5937/zbakum1907062l","DOIUrl":"https://doi.org/10.5937/zbakum1907062l","url":null,"abstract":"The apparently antagonistic relation 'tradition - innovation' lays at the foundation of European art music as permanent transfer, as a complementary binomial. In higher education music institutions, there is also a strong connection between tradition and innovation. This paper focuses on the creation of two Romanian composers, Tiberiu Olah and Anatol Vieru (who were teachers at the Bucharest Conservatory, as well), aiming to emphasize their personal ways of balancing the new and the old. The modal universe, with its immense potential, becomes their object of study and their most important source of inspiration. The tie with the musical past is manifest, in the works of Olah and Vieru, in three main directions: a) the innovative absorption of aspects of Romanian oral tradition; b) the return to consonance; c) the references to the tradition of European art music.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88059669","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 paper will examine concert activities of the Chamber Orchestra of the Academy of Arts in Novi Sad in the period from 1982, when was the date of the first concert program in which the ensemble was announced under that name, until 1992, when the ensemble changed its name to Camerata Academica and continued to operate in new social circumstances. A large number of concerts and cooperation with foreign and national guest soloists testify to the extremely fertile period in the history of this ensemble, which provides insight into the details of the efforts for the institutional foundation of the orchestra, the organization of tours, the preparation of the repertoire and critical reception of the period. The research was conducted based on the material stored in the archives of theAcademy ofArts and the writingsfrom the daily newspapers of that time.
{"title":"Chamber Orchestra of the Academy of Arts in the 1982-1992 period","authors":"M. Milojković","doi":"10.5937/zbakum1907104m","DOIUrl":"https://doi.org/10.5937/zbakum1907104m","url":null,"abstract":"The paper will examine concert activities of the Chamber Orchestra of the Academy of Arts in Novi Sad in the period from 1982, when was the date of the first concert program in which the ensemble was announced under that name, until 1992, when the ensemble changed its name to Camerata Academica and continued to operate in new social circumstances. A large number of concerts and cooperation with foreign and national guest soloists testify to the extremely fertile period in the history of this ensemble, which provides insight into the details of the efforts for the institutional foundation of the orchestra, the organization of tours, the preparation of the repertoire and critical reception of the period. The research was conducted based on the material stored in the archives of theAcademy ofArts and the writingsfrom the daily newspapers of that time.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73587281","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}
O plakatu kao sredstvu komunikacije Vrijeme u kojem živimo potpuno je usaglaseno sa novim medijima vizuelnih komunikacija u koje se nedvosmisleno ubraja i plakat, sa svojom apsolutno prijemcivom i likovno pretpostavljenom formom, koja prati, osluskuje, provocira, uzbuđuje, obavjestava i uvodi u kompleksan svijet likovnosti i dizajna. Brojni teoreticari, istoricari i umjetnici raznih profila su se bavili njegovom pojavom i analizom, te predlaganjem raznih mogucnosti definisanja samog pojma plakata i plakatske umjetnosti, pa najcesce nailazimo na informacije o plakatu kao umoženoj obavijesti koja se postavlja na javnim mjestima (moguce od rijeci plak -mrljica ili krpica)? U engleskom jeziku se koristi termin poster (prihvaceno i u nasem jeziku kao doslovni prevod), ili posted up (objavljeno, u smislu postavljanja na javno mjesto). U francuskom jeziku se koristi the World Biennial of Student Poster -A Case Study Abstract: The paper World Biennial of Student Poster -A Case Study aims to show the complex structure of the poster as an art form in a historico-analytical and content-wise manner. Viewing the poster in the light of the progressive technological and innovative possibilities of modern information technologies, constantly requires challenging of the scopes and justification of the existence of a "classic" poster. Its role in contemporary society has been analyzed through various forms of manifestation in the spheres of art and modern design. Insufficiently paid attention to the essence of artistic expression through the poster, which has historically been marginalized in relation to classical painting, has positively changed over time, and through the apostrofing of the strength and the range the poster reaches, it has pointed to the significant changes in the society that this type of communication has achieved. In this paper, a prominent event of the Academy of Arts in Novi Sad, the World Biennial of Student Poster, was selected for the case study, and through the analysis of eight exhibitions of the Biennial, its role since 2004 has been evaluated with an obvious improvement in pedagogical and creative work on the poster.
{"title":"The world biennial of student poster: A case study","authors":"S. Vidaković","doi":"10.5937/zbakum1907158v","DOIUrl":"https://doi.org/10.5937/zbakum1907158v","url":null,"abstract":"O plakatu kao sredstvu komunikacije Vrijeme u kojem živimo potpuno je usaglaseno sa novim medijima vizuelnih komunikacija u koje se nedvosmisleno ubraja i plakat, sa svojom apsolutno prijemcivom i likovno pretpostavljenom formom, koja prati, osluskuje, provocira, uzbuđuje, obavjestava i uvodi u kompleksan svijet likovnosti i dizajna. Brojni teoreticari, istoricari i umjetnici raznih profila su se bavili njegovom pojavom i analizom, te predlaganjem raznih mogucnosti definisanja samog pojma plakata i plakatske umjetnosti, pa najcesce nailazimo na informacije o plakatu kao umoženoj obavijesti koja se postavlja na javnim mjestima (moguce od rijeci plak -mrljica ili krpica)? U engleskom jeziku se koristi termin poster (prihvaceno i u nasem jeziku kao doslovni prevod), ili posted up (objavljeno, u smislu postavljanja na javno mjesto). U francuskom jeziku se koristi the World Biennial of Student Poster -A Case Study Abstract: The paper World Biennial of Student Poster -A Case Study aims to show the complex structure of the poster as an art form in a historico-analytical and content-wise manner. Viewing the poster in the light of the progressive technological and innovative possibilities of modern information technologies, constantly requires challenging of the scopes and justification of the existence of a \"classic\" poster. Its role in contemporary society has been analyzed through various forms of manifestation in the spheres of art and modern design. Insufficiently paid attention to the essence of artistic expression through the poster, which has historically been marginalized in relation to classical painting, has positively changed over time, and through the apostrofing of the strength and the range the poster reaches, it has pointed to the significant changes in the society that this type of communication has achieved. In this paper, a prominent event of the Academy of Arts in Novi Sad, the World Biennial of Student Poster, was selected for the case study, and through the analysis of eight exhibitions of the Biennial, its role since 2004 has been evaluated with an obvious improvement in pedagogical and creative work on the poster.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"97 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77644655","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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