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EN
We live in the world of ubiquitous violence and on the other hand, reflection over violence. Violence breeds violence, but what breeds reflection over the violence? According to Pierre Bourdieu, Harrison C. White, and others, we can say that violence could help us understand the social reality and create a more sophisticated theory which gain together the antisocial behaviors and their social and individual backgrounds. Anton van Harskamp in preface to work Conflicts in Social Science shows, that social violence compare to the others social problems is not a safe field of research. Numerous social scientists find themselves caught up in an inextricable entanglement of scientific conflicts and societal antagonisms, we have thousands – as van Harskamp says – theories about violence and conflicts. In naïve thinking we can say, that violence rose as a form of social metaphor. Especially for Pierre Bourdieu violence and conflicts are connected with the politics of language. In his theoretical and sociological universe, social capital, symbolical power and habitus help understand the hidden dimension of symbolic violence shown as the violence without violence. The next author Slavoj Žižek explore the inner world of violence as a social and language mechanism. Bourdieu and Žižek follow by philosophical and narrative theories show violence in the everyday experience as a pattern of individual behavior. In contrary to these authors, Harrisona C. White explore social conflicts as a part of social networks and social spaces. The leading theories will be divided into three main subjects: metaphors, symbols and performances, especially the Randall Collins conception of interaction ritual chains is preferred as a crucial for understanding the impact of violence into the society.
EN
This presentation will deal with the reception of performances, translations and retranslations of Shakespeare’s plays into the Galician language. As is well-known, Galician is a Romance language which historically shared a common origin with Portuguese in the Iberian Peninsula, and which had a different evolution due to political reasons, i.e. the independence of Portugal and the recentralization of Spain after a long partition with the so called Catholic monarchs. As a consequence, Galician ceased to be the language of power and culture as it was during the Middle Ages, and was spoken by peasants and the lower classes in private contexts for centuries. With the disappearance of Francoism in the 1970s, the revival of Galician and its use as a language of culture was felt as a key issue by the Galician intelligentsia and by the new autonomous government formed in 1981. In order to increase the number of speakers of the language and to give it cultural respectability, translations and performances of prominent playwrights, and particularly those by Shakespeare were considered instrumental. This article will analyse the use of Shakespeare’s plays as an instrument of gentrification of the Galician language, so that the association with Shakespeare would confer a marginalized language social respectability and prestige.
Path of Science
|
2016
|
vol. 2
|
issue 4(9)
5.1-5.22
RU
В статье научно обоснованы особенности авангардного искусства, которое направлено на поиск синестезийной общности художественных языков и трансформацию эстетической реальности. Выявлены основные черты экспериментальной деятельности композиторов русского авангарда Михаила Матюшина и Александра Мосолова. Доказано, что доминантой их творчества является создание новой модели искусства, которое объединяет все типы воздействия на человека и возвращающего полноту восприятия и познания действительности.
EN
The article scientifically substantiates the features of avant-garde art that is aimed at finding synesthesian community of art languages and aesthetic transformation of reality. It identifies the main features of the Russian avant-garde composers Mikhail Matyushin’s and Alexander Mosolov’s experimental creativity. It is proved that the dominant feature of their work is the creation of a new model of art that brings together all types of human exposure and returns the fullness of perception and cognition.
EN
The publication describes the activity of Polish theater during the Second World War. It is an attempt to look at theater from the perspective of the tasks and values it presented in this particularly difficult period. The article describes the functioning of open and underground theaters and theaters operating in concentration camps. The above-mentioned activities cannot be reduced to one formula or a specific species. In these conditions, the artistic level and innovation of many performances amaze. Paradoxically, this most dramatic theater achieved its greatest autonomy during the occupation. It has become a useful tool for restoring human dignity and art.
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