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1

Institutional Logics as orchestras’ strategic dilemma

100%
Heinen A., Weisenfeld U.
International Review of Social Research
|
2015
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vol. 5
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issue 2
130-140
EN
In many societies, professional orchestras serve cultural, educational, entertaining, and economic functions, and they aim high: they aim to be artistically excellent. Pursuing partly cultural, social and economic goals, orchestras are exposed simultaneously to respective institutional logics. These logics provide a framework for relevant actors (state, benefactors, audiences) to support orchestras. Changing logics coupled with drastic changes in audiences afford to classical orchestras the challenge of developing strategies in order to survive. While Germany with its high number of orchestras per habitants experiences particularly high pressure to walk new paths, strategic development will become a more urgent topic in other countries as well since each performance begs for recognition in the big and increasing panoply of culture, education, and entertainment. Based on historical developments and an empirical study of German audiences we discuss two directions for strategic development, here for orchestras in Germany: a) the combination of elements from different logics, and b) the development of audiences.
2
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Poręczne obrazy, wymowne przedmioty. Retoryka rzeczowości w „L'Esprit Nouveau” Ozenfanta i Le Corbusiera

100%
Rejniak-Majewska A.
Artium Quaestiones
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2018
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issue 29
91-119
PL
The paper is an attempt to draw the reader’s attention to visual reproduction as an element of modern artistic discourses and a medium of the mediated reception of art. An instrumental approach to reproduction as a neutral and ancillary vehicle of meaning, prevalent in the age of modernism, corresponded to the belief in its information efficacy and ability to overcome material, physical limitations. What mattered most were not the material, physical aspects of the existence and circulation of images, even though the avant-garde artists of the 1920s, using contemporary technology, were aware how important the medium’s and its distribution range’s “impact” was. L’Esprit Nouveau, a periodical edited in 1920-1925 by Amédée Ozenfant and Le Corbusier, was an example of a successful avant-garde strategy which let both editors, marginal in the field of art, achieve the status of “leaders” of the modernist movement, recognized or at least carefully watched by artists and critics abroad. Next to other factors, important was the visual aspect of the magazine, praised for many impressive, modern illustrations, often reproduced in other avant-garde publications. The author analyzes visual resources used and reproduced in L’Esprit Nouveau, referring to the postulates of “objectivism” and “thingness”, endorsed by the periodical, and considering the part that “ready-made” images, found in the daily press and commercial catalogues as well as on postcards. played in Le Corbusier’s polemical and programmatic texts. Their strongly persuasive message was often rooted in montage and quotations which stressed its heterogeneity. In terms of composition and aesthetics, the reproduced images supported the aesthetics of transparency, order, and thingness, so characteristic of L’Esprit Nouveau. The emblems of modernity emerged from the movement of anonymous images which acquired the value of symbols.    Ozenfant’s and Le Corbusier’s use of images borrowed from popular culture, as well as from albums and art books, makes one consider not only their rhetorical effectiveness, but also their role in the creative process and thinking. In Le Corbusier’s artistic practice, those easily available, miniaturized images were a common instrument enhancing his visual, aesthetic approach. Such an approach, according to Georg Simmel, seems to be characteristic of the modernist attitude to the material world that consisted in subjective distance combined with the apparently opposite desire to “go back to things” by making them more concrete and closer to the senses.  
3
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Ciemna, szpetna, zepsuta. Norma i anomalia w opisie łaciny średniowiecznej

84%
Nowak K.
Biuletyn Polskiego Towarzystwa Językoznawczego
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2017
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vol. 73
161-174
PL
W artykule omawiamy wybrane aspekty pojęcia normy, jakie dawały i niekiedy dają jeszcze o sobie znać w badaniach nad łaciną średniowieczną. Analizując wywód Charlesa du Cange’a z jego Glossarium, wskazujemy na preskryptywizm, jaki cechował wczesny dyskurs mediolatynistyczny. Przedstawiał on łacinę średniowieczną jako produkt zepsucia łaciny klasycznej, a dziś – będąc przejawem uniwersalnego mitu językowego (Watts 2014) – daje o sobie znać w opisie łaciny średniowiecznej jako zestawu dewiacji. Następnie omawiamy, odwołując się do modelu normy wypracowanego przez Bartsch (1982), efekty reformy karolińskiej z VIII w. jako przykładu szeroko zakrojonej polityki językowej. Ów akt „higieny językowej” (Cameron 1995) skutkował podniesieniem odmiany języka do statusu języka wzorcowego oraz kodyfikację i promulgację normy. W zakończeniu poświęcamy nieco miejsca roli błędu językowego w praktyce filologa i językoznawcy.
EN
The paper presents selected prescriptive tendencies that influenced and still influence Medieval Latin studies. It starts with a discussion of the preface of du Cange’s Glossarium, which demonstrates prescriptivism, typical of the early linguistic discourse. In this perspective Medieval Latin necessarily appears as a result of the decay of the purity of Classical Latin. This view, a universal linguistic myth (Watts 2014), is at present responsible for the misrepresentation of Medieval Latin as a set of mere deviations. Next, following the descriptive framework proposed by Bartsch (1982), the article shows the effects of the 8thcentury Carolingian reform. This act of “verbal hygiene“ (Cameron 1995) resulted in turning a specific language variety to a linguistic standard, which was then codified and promulgated. The article closes with a brief discussion of the role that language error plays in the work of a philologist and linguist.
4
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Palimpsest w przekształceniach opactwa cysterskiego w Rudach po II wojnie światowej

84%
Dąbkowska M.
Architectus
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2016
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issue 1(45)
19-30
PL
Artykuł ma na celu naświetlenie przekształceń, jakich dokonano w opactwie cysterskim w Rudach Raciborskich po II wojnie światowej. Ten bogaty i rozległy zespół architektoniczny, ukształtowany w ciągu kilku epok artystycznych, po sekularyzacji zamieniono na pałac książęcy. Na skutek zniszczeń w czasie wojny utracona została część zabytkowej materii, tj. m.in. średniowieczne sklepienia, nowożytne tynki, sztukaterie, detale i elementy architektoniczne. Jednocześnie spod barokowego tynku odsłoniły się świetnie zachowane średniowieczne polichromie. Prace konserwatorskie wówczas przeprowadzone miały charakter purystycznej odbudowy bez szacunku dla zabytkowej materii. Bez względu na stan zachowania usunięto wszystkie średniowieczne malowidła, patynę ścian, barokowe stiuki, które mogły pozostać w formie tzw. świadków. Kreując architektoniczny palimpsest, pozbawiono obiekt znacznej części jego historii, albowiem straty poniesione nie są możliwe do odrobienia.
EN
The article is aimed at describing the transformations of the Cistercian abbey in Rudy Raciborskie after World War II. This architectural complex, established after the secularization was converted into a ducal palace. During the World War II medieval vaults, stucco works, details and elements of architecture were destroyed. However, due to that fact, medieval polychromes were revealed. All the conservation works conducted at that time were of purifying character and resulted in the destruction of all medieval paintings, patina on the walls as well as Baroque stucco works, which could have been left in the form of the so called “testimony”. This architectural palimpsest deprived the building of a part of its history and the losses are impossible to recover.
5
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"Euročeština" v lucemburských překladech dokumentů Evropského parlamentu

67%
Hoffmannová J., Šimandl J.
Naše řeč (Our Speech)
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2008
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vol. 69
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issue 3
113-126
EN
This article tries to give an answer to a frequently asked question: how (and how much) is contemporary Czech influenced with the processes of European integration? The authors have had recently an opportunity to analyse a great number of official administrative texts that had been translated into Czech (mostly from English) by the members of the group of translators who work in Luxemburg as a service for the European Parliament. This analysis confirmed the conviction of Czech translators in Luxemburg: the main problem is not a great amount of loanwords in Czech but rather an ambition of translators to find always a Czech word (a new “purism”); and than a highly complicated composition of sentences.
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