Иконография сил небесных в раннехристианском и раннесредневековом искусстве
The article is devoted to the study of tradition of representation of angels in the Early Christian and Early Medieval Art of Byzantium and Western Europe.
The article deals with apocalyptic motifs in the ideas, attitudes and values of two outstanding Spanish Catholic philosophers - Jaime Luciano Balmes (1810-1848) and Juan Donoso Cortes (1809-1853). Standing in the 1830-1840s. to protect the Ancient regime Balmes and Donoso were in the political camp defeated in the struggle with the liberal bourgeoisie, engaged in creating a New order. As a result, today they are on the periphery of social and political thought. However, their philosophical and political diagnoses remain a part of relevance to this day. Correlating Balmes and Donoso from the views of their main opponents - the French Enlightenment of the XVIII century and the British and French positivists of the XIX century, - we will be able to put the problem of the "end of history" in the universal - the general historical - context.
The aim of this article is to provide a critical analysis of most recent trends in the study of medieval art, especially those approaches which are signaled by last influential works of Jean Wirth, Jérôme Baschet and Olivier Boulnois. I give my view points on several problems and documents of medieval art, try to demonstrate strong and feable sides of recent methodology in the field.
Cet essai réunit des réflexions sur l’interaction entre les arts, les savoirs et la politique à la cour de Frédéric II de Hohenstaufen (1220-1250). Il s’agit de thèmes déjà abordés et développés dans la thèse de doctorat soutenue par l’auteur à l’EHESS de Paris, sous la direction de Jean-Claude Schmitt. Cet ouvrage utilise des documents connus depuis longtemps par les spécialistes, mais encore entièrement inédits, comme par exemple le Liber Introductorius, une somme d'astrologie et cosmologie, œuvre de Michael Scotus (rédigée avec toute probabilité en 1230). La lecture du traité de Pierre d’Eboli sur les bains de Pozzuoli stimule des réflexions sur l'histoire de la science au XIIIe siècle et sur la tradition de l’école de médecine de Salerne, mais aussi sur les méthodologies à suivre pour une analyse des textes et des images (surtout pour les manuscrits à miniatures et pour les techniques de sculpture) dans l’Italie du Sud.
The article analyses the mosaics in the important Roman churches and studies the common meaning of their decorations.
The article deals with dynamics of eschatological expectations in mediaeval Rus’ and its impact on the development of ecclesiastical culture. The period 992-1492 can be viewed as stretching between two great millenial dates -- 6500 and 7000, the middle of the seventh millenium and the end of it. It is demonstrated that round dates like 6600 AM (1092) and 6700 AM (1192) were also perceived as special and prophetic times. They triggered much of eschatological agitation and elicited various forms of response on the part of lay and ecclesiastical elite.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
The article is devoted to the formation of the image of the pre-revolutionary history of Russia on the example of Yuri Tarich's film Wings of Serf (1926). In the first post-revolutionary decade, there was a departure from previous standards in the image of national history. Authors searched for new forms of screen representations of past events. Although the film inherits the tradition of depicting the king as a murderer and tyrant, the creators – director Yuri Tarich and screenwriter Victor Shklovsky – tried to transfer on screen revolutionary understanding of history. The film is influenced
by historical theory of Mikhail Pokrovsky, and Shklovsky introduced the economic element in the scenario as the main engine of the plot.
The avant-garde figures who came to cinema (Shklovsky, first of all, was a literary critic) came up with the rules of screenwriting craft on the go and challenged the boundaries of cinema's possibilities in practice. The purpose of Wings of Serf’s screenplay was to move away from the one-sided image of Ivan the Terrible and determine his actions as of economic basis. Shklovsky and Tarich developed the idea of the revolutionary remaking of the image of the past in their next work, the film version of Captain's Daughter.
The article covers the history of foreign screenings of Wings of Serf, focusing on the history of censorship bans and re-editing of the film for USA. The author shows in the article the possible influence of Wings of Serf on Ivan the Terrible by Sergei Eisenstein, which is implicitly present in both artistic and plot terms.
Despite success and foreign distribution, the movie was visually traditional, realistic, and researchers considered, most often, as the prologue before radical change of the relation to Ivan the Terrible in the thirties. The article shows how filmmakers of the first decade after the revolution used to work with historical material.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.