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2 Rybczyńska Z.

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W poszukiwaniu muzyki sfer — o praktykach artystycznych Pawła Tyczyny i Mikołajusa Konstantinasa Čurlionisa

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Rybczyńska Z.

Prace Kulturoznawcze

2012

tom 14

nr 2

163-176

The music of the spheres, derived from one of the oldest concepts of a single, cohesive nature of the world, has had a long history dating back to the Pythagoreans’ writings, and alongside other representations of music as a fundamental principle of the existence and functioning of the world and humans, forms a separate set of ideas that a German musicologist, Walter Wiora, referred to as transmusical. The “cosmic” dimension of musical representations is irreversibly connected with the idea of the musical essence of human soul that baffles all rational interpretations. Such approaches to music correspond thus to the two ways of viewing human beings — looking up towards the stars or inside themselves towards the depth of their souls — which reflect the musical ideas of culture circulating in Europe. Both tendencies were reconciled, to some extent, in the philosophical and artistic practices of the early 20th century, when the representation of the musical became the foundation for a new language of art, especially in poetry and painting. This is perfectly illustrated by works of the Ukrainian poet Pavlo Tychyna and the Lithuanian painter and composer Mikalojus Konstantinas Čurlionis.

Potęga i niemoc spojrzenia Meduzy: alternatywne przewodniki miejskie jako realizacja nowej utopii

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Rybczyńska Z.

Prace Kulturoznawcze

2015

tom 17

129 - 141

The emergence and popularity of various projects of alternative guides is an expression of the spread of alternative tourism practices, which thrive in opposition to the popular model of romantic tourism used in mass culture. Its modern variety is no longer focused on creating images of cultural landscapes, but only on their reproduction, which leads to their stereotypization and simplification. An alternative, as can be seen in Ukrainian guides, is the return to creating alternative images of the cities. As a result, a tourist transforms from a passive consumer of trivial images and values into a co-author of his own journey, and also actively participates in the reinterpretation of a cultural landscape. During this creative search one discovers that on which the monumentalizing view of Medusa stops — the everyday city life. Its instability and fl uidity, marginality and absence from the official cultural current is a fertile soil on which a new utopia grows — a vision of an “authentic” city, which appreciates not the artificial and used up forms, stiff relationships, unambiguous and established values, but the insignificant forms, constantly appearing and disappearing, referring to living relationships, the ambiguous play on meanings. Close to the so interpreted urban landscape appear to be both examples of contemporary urban “design folk” as well as the alternative artistic practices oriented at the opposition to the state policy of cultural institutions.