Wyniki wyszukiwania - Biblioteka Nauki

1

The Republican Houses of the Roman Colonies in Ancient Magna Graecia. Cultural Exchange from a Western Perspective

100%

Cortés Vicente A.

Światowit

|

2019

|

tom 58

47-57

EN

This article presents an analysis that is being carried out within the framework of the ‘Tetrastylon project’ (Marie Skłodowska-Curie Research Fellowship). This project is designed to create the scientific basis for the identification and definition of a new type of Roman domus. This typological item is the result of the hybridisation of a house scheme drawn from the Greek and Roman conceptions of housing. In the recent decades, some studies have found a particular type of Roman house in different parts of the Empire. The structural scheme of this domus joins, in the first place, the developmental concept of the Greek dwelling with the use of the Roman atrium as the central distribution area of the house. As a result of this cultural symbiosis, it is possible to observe Roman distribution areas within housing built following Greek structural conceptions and the combination of very different architectural influences between both cultures. The house, tentatively termed ‘the tetrastyle courtyard house’, has been observed in different Roman cities with a Greek past, but in different geographical contexts and chronologies. This type of house, with its variants, has not been sufficiently analysed in the Roman domestic architecture studies. This article will present different examples of this type of house within the territorial context of ancient Magna Graecia under the influence of the Roman dominion. This approach will show the same exchanges between the Greeks and the Romans in the East, but from the western perspective and at an earlier chronological stage.

2

Cultural Interaction: The Transformation of Textile design for Traditional Cheongsam in the Republic of China

100%

Zhang J. , Zhang Y. , Cui R.

Fibres & Textiles in Eastern Europe

|

2022

|

tom Vol. 30, no. 6

19--26

EN

This paper aims to discuss the artistic characteristics of traditional cheongsam and the transformation that has taken place in cheongsam textile design in the Republic of China. By analysing a collection consisting of 259 traditional cheongsam material samples in various museums such as the China Silk Archives in Suzhou, we explored the transformation of cheongsam textile design during the Republic of China from the perspective of Eastern and Western art cultural exchanges and explored the spread of Western artistic thought in China. Our search shows that, firstly, with the development of industrialization, the traditional cheongsam textile business absorbed new design concepts; secondly, in terms of material selection and pattern style, it widened the range of fabrics used and broke the monotony of traditional Chinese patterns. Moreover, it reduced connotations of social class implied by traditional textile design. Finally, these textile designs reflect the progress that has been made in the development of this artistic trend and the cultural fusion of Eastern and Western arts during the Republic of China.

3

Cultural Institutes and Their Role in Society

100%

Qian L. , Qi Z.

Management of Sustainable Development

|

2016

|

tom 8

|

nr 1

45-47

EN

Culture is “driver and enabler of sustainable development”. In the context of globalization, cultural exchanges are increasing, the role of language as a carrier of culture is more and more evident. Many countries even include it in the national strategy, and it became an important government action. Confucius Institute is an important platform for Sino-foreign cultural exchanges and mutual learning”. And the same of the other cultural institutes which have been mentioned in this paper. They are all playing a role of the international community civilization messenger, they are bridges to connect the native countries and abroad, they are Culture Ambassadors who help the comprehension and cooperation among people and countries.

4

Laibach in North Korea — A Journey to the East (from the Slovene Perspective)

88%

Šentevska I.

Prague Papers on the History of International Relations

|

2020

|

nr 1

86-101

EN

In summer 2015 for the first time in its history the Democratic People’s Republic of Korea welcomed a western rock band, making an unexpected gesture of inviting the Slovene art group Laibach. Laibach’s credentials for this type of cultural diplomacy may be best observed in the sociopolitical context of the 1980s, when they operated within a broader alternative cultural scene of civil society movements in Slovenia (then socialist Yugoslavia). Laibach have since uniquely employed different media and approaches to inspect relations between art, politics, processes of nation-building and popular culture. In the Western media they are mainly presented as a highly controversial music group originating from the former communist East and disturbing the audiences with their totalitarian imagery and ambiguous political messages. Across the globe they were seen as going to North Korea to entertain a brainwashed and utterly unpredictable audience in the most totalitarian and isolated society in the world. This unusual and well documented journey to the far end of what has remained of the former communist East provides interesting material for analyzing the media interpretations of the East/West divide in the contemporary context. However, this paper focuses on the media debate in Slovenia informed by the local knowledge of Laibach’s significance and history which was largely lacking in the international coverage of this out-of-the-ordinary voyage.

5

From Individual Heroes to National Performers: The Shift in Taekwondo's Peace Promotion Activities

88%

Johnson J. A. , Lewis S.

Physical Activity Review

|

2020

|

tom 2

|

nr 8

64-71

EN

The writings of early taekwondo pioneers promote peace through the practice of the martial art and, later, the combat sport. These pioneers charged taekwondo practitioners with a duty to contribute to justice, defend the weak, and build a more peaceful world. National and international taekwondo organizations such as the Kukkiwon, World Taekwondo (WT), and the International Taekwon-Do Federation (ITF) have taken up the charge of peace promotion through taekwondo by means of transnational events, such as goodwill tours and joint taekwondo demonstrations by adversarial states (e.g., South and North Korea). These activities are soft diplomacy initiatives and have seen some level of success. While these soft diplomacy activities are in line with the goal of peace promotion that the early pioneers advocated, they are qualitatively different from what the pioneers advocated. Originally, the responsibility of peace promotion was on the individual taekwondo practitioner, who ought to cultivate moral character, courage, and martial art skill in order to uphold justice and defend the weak. With the current use of taekwondo for soft diplomacy, the responsibility of peace promotion has shifted from the individual practitioner to the governing bodies, such as WT and the ITF. Instead of focusing on issues surrounding justice and the protection of the weak, these national and international organizations focus on geopolitical cooperation, which is mediated through cultural exchange activities in the form of taekwondo demonstrations. These events involve activities such as acrobatic performances, dance routines, and board breaking that require little combat skill and may not pose the risk of serious injury to the individual practitioners, mainstays of the individual heroes of old. The charge to safeguard justice and physically defend the weak, which are acts of true courage as was envisioned by the taekwondo pioneers, is mostly ignored.

6

The samurai and the European question

75%

Zemanek B.

Studia Norwidiana

|

2018

|

tom 36 English Version

251-265

EN

The article analyses the origins of the pictures in C.K. Norwid’s Album Orbis: Japanese monks from Vol. I and a Japanese archer from Vol. III. Norwid borrowed the illustrations from Aimé Humbert’s book Le Japon illustré; these illustrations originated as photographs by Felice Beato, transformed first into graphics printed in books and in press articles, and later cut-out or re-drawn by Norwid and placed in an entirely new illustrative and narrative context within his Album. Such multi-stage borrowing (photography-graphic-drawing) required many modifications; this process reflected the indirect and multi-stage transfer of knowledge between Japan and Europe in the 19th century and this knowledge exchange was taking place in the context of European, including French, colonial expansion in Asia. The fact that Norwid placed the Japanese archer among illustrations from early medieval Europe may suggest that he wanted to create a parallel between the actions of the Carolingian dynasty in relation to the papacy and the actions undertaken by the first Minamoto shoguns with regard to the Japanese emperor, as the latter were described by A. Humbert.

7

Auf der Suche nach den Keltinnen in Italien. Die Hohlbuckelringe aus Marzabotto (prov. Bologna/I)

63%

Geschwind H.

Studia Hercynia

|

2020

|

tom 24

|

nr 2

78-97

EN

Marzabotto (prov. Bologna/I) is one of the most important archaeological sites for research on the mobility of Celtic women. Since the 19th century, six undecorated ‘Hohlbuckelringe’ (anklets with hollow hemispheres/ knobbed rings) have been found and studied. This type of jewellery arises in the middle La Tène period in Central Europe, where certain variants developed in different regions. Due to the studies of the anklets from Marzabotto, a Celtic influence can be assumed in LT B2 in Emilia -Romagna, which has its origins in the area of Slovakia, Hungary, and the Czech Republic. For the first time in Marzabotto, the La Tène woman’s jewellery is the focus of the provenance debate.

8

Ukrainian cinematography in the context of intercultural cooperation

63%

Pohrebniak H.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

|

2023

|

tom 34

|

nr 43

97-110

EN

The article describes the production and distribution of Ukrainian films and establishes scientific guidelines that will contribute to a comprehensive analysis of Ukrainian cinema in the intercultural space. An analytical method was used to develop this topic, which is necessary for studying the art history and cultural aspect of the problem. In addition, the author used the methods of systematization and generalization to argue for the originality of Ukrainian cinematography and its place in modern culture-creating processes. The scientific novelty of the study is that it describes the work of film directors whose films were created as international projects.

9

Samuraj a sprawa europejska

51%

Zemanek B.

Studia Norwidiana

|

2018

|

tom 36

235-249

PL

Tekst analizuje pierwotne pochodzenie grafik z Albumu Orbis: japońskich mnichów (t. I) i japońskiego łucznika (t. III). Zapożyczone przez Norwida z Le Japon illustré Aimé Humberta ilustracje są przekształconymi fotografiami autorstwa Felice Beato, przetworzonymi na grafiki drukowane w prasie i książce, a następnie przerysowane lub wycięte przez Norwida i umieszczone w nowym kontekście ilustracyjno-narracyjnym Albumu. To kilkuetapowe zapożyczanie (fotografia–grafika–rysunek) i związane z tym przekształcenia ilustrują nie-bezpośredni charakter przepływu wiedzy między Japonią a Europą w połowie XIX w. Ta wymiana kulturowa była silnie osadzona w kontekście europejskiej, w tym francuskiej, ekspansji kolonialnej w Azji. Umieszczenie przez Norwida ryciny japońskiego łucznika między obrazami z wczesnego europejskiego średniowiecza może sugerować, że stworzył on paralelę między działaniami dynastii karolińskiej względem papiestwa i działaniami pierwszych siogunów rodu Minamoto względem japońskiego dworu cesarskiego, tak jak te ostatnie opisuje A. Humbert.

EN

The article analyses the origins of the pictures in C.K. Norwid’s Album Orbis: Japanese monks from vol. I and a Japanese archer from vol. III. Norwid borrowed the illustrations from Aimé Humbert’s book Le Japon illustré; these illustrations originated as photographs by Felice Beato, transformed first into graphics printed in books and in press articles, and later cut-out or re-drawn by Norwid and placed in an entirely new illustrative and narrative context within his Album. Such multi-stage borrowing (photography-graphic-drawing) required many modifications; this process reflected the indirect and multi-stage transfer of knowledge between Japan and Europe in the 19th century and this knowledge exchange was taking place in the context of European, including French, colonial expansion in Asia. The fact that Norwid placed the Japanese archer among illustrations from early medieval Europe may suggest that he wanted to create a parallel between the actions of the Carolingian dynasty towards the papacy and the actions undertaken by the first Minamoto shoguns with regard to the Japanese emperor, as the latter were described by A. Humbert.

10

The samurai and the European question

51%

Zemanek B.

Studia Norwidiana

|

2018

|

tom 36 English Version

251-265

PL

Tekst analizuje pierwotne pochodzenie grafik z Albumu Orbis: japońskich mnichów (t. I) i japońskiego łucznika (t. III). Zapożyczone przez Norwida z Le Japon illustré Aimé Humberta ilustracje są przekształconymi fotografiami autorstwa Felice Beato, przetworzonymi na grafiki drukowane w prasie i książce, a następnie przerysowane lub wycięte przez Norwida i umieszczone w nowym kontekście ilustracyjno-narracyjnym Albumu. To kilkuetapowe zapożyczanie (fotografia–grafika–rysunek) i związane z tym przekształcenia ilustrują nie-bezpośredni charakter przepływu wiedzy między Japonią a Europą w połowie XIX w. Ta wymiana kulturowa była silnie osadzona w kontekście europejskiej, w tym francuskiej, ekspansji kolonialnej w Azji. Umieszczenie przez Norwida ryciny japońskiego łucznika między obrazami z wczesnego europejskiego średniowiecza może sugerować, że stworzył on paralelę między działaniami dynastii karolińskiej względem papiestwa i działaniami pierwszych siogunów rodu Minamoto względem japońskiego dworu cesarskiego, tak jak te ostatnie opisuje A. Humbert.

EN

The article analyses the origins of the pictures in C.K. Norwid’s Album Orbis: Japanese monks from Vol. I and a Japanese archer from Vol. III. Norwid borrowed the illustrations from Aimé Humbert’s book Le Japon illustré; these illustrations originated as photographs by Felice Beato, transformed first into graphics printed in books and in press articles, and later cut-out or re-drawn by Norwid and placed in an entirely new illustrative and narrative context within his Album. Such multi-stage borrowing (photography-graphic-drawing) required many modifications; this process reflected the indirect and multi-stage transfer of knowledge between Japan and Europe in the 19th century and this knowledge exchange was taking place in the context of European, including French, colonial expansion in Asia. The fact that Norwid placed the Japanese archer among illustrations from early medieval Europe may suggest that he wanted to create a parallel between the actions of the Carolingian dynasty in relation to the papacy and the actions undertaken by the first Minamoto shoguns with regard to the Japanese emperor, as the latter were described by A. Humbert.

11

Góry Hemos a bizantyńskie wpływy kulturowe i gospodarcze na wczesnośredniowieczną Bułgarię

45%

Marinow K.

Balcanica Posnaniensia Acta et studia

|

2018

|

tom 25

7-42

EN

The text discusses the importance of the Hemos mountain range (nowadays including Pre-Balkan, Stara Planina and Sredna Gora massifs) which separated the core territory of the early medieval Bulgaria in the North from the Byzantine lands in the South (almost through the entire so-called pagan or barbarian period of the Bulgarian state, i.e. from the end of 7th to the middle of 9th centuries), and divided the state in two geographically separated territories during the rest part of the existence of the so-called First Bulgarian Empire (from the second half of the 9th to the end of 10th and beginning of 11th centuries). The source investigation shows that especially during the first half of the period in consideration – the mentioned pagan (barbarian) period – the mountains really acted, to a certain degree, as a barrier for the Byzantine influences on the Bulgarians. That was because of the ideological (political) and religious differences between both the states.

PL

Tekst omawia znaczenie górskiego łańcucha Hemosu (współcześnie odpowiadającego masywom Przedbałkanu, Starej Płaniny i Srednej Gory), który rozdzielał jądro terytorialne wczesnośredniowiecznej Bułgarii znajdujące się na północy od ziem bizantyńskich leżących na południu (prawie przez cały tzw. pogański okres państwa bułgarskiego, a zatem pomiędzy końcem VII. a połową IX. w.), i dzielił państwo na dwa geograficznie odrębne obszary przez pozostałą część istnienia tzw. Pierwszego Państwa Bułgarskiego (od drugiej połowy IX. do końca X. i początków XI. w.). Analiza źródłowa wskazuje, że szczególnie w pierwszej części omawianego okresu chronologicznego – w tzw. okresie pogańskim lub barbarzyńskim – góry rzeczywiście, do pewnego stopnia, odgrywały rolę bariery dla wpływów bizantyńskich na Bułgarów. Wynikało to z różnic ideologicznych (politycznych) i konfesyjnych pomiędzy oboma państwami.

12

Stalinův černý apoštol: afroamerický zpěvák Paul Robeson v Československu

44%

Schormová F.

Soudobé dějiny (Contemporary History)

|

2021

|

tom 28

|

nr 1

183-213

EN

Paul Robeson (1898–1976), an African American singer, athlete, actor, and Leftist political activist, visited Czechoslovakia in 1929, 1945, 1949, and 1959. He was in contact with official Czechoslovak structures, was writing about Czech music, and learning Czech. This article focuses especially on his 1949 visit and Robeson’s economic and artistic relations to Czechoslovakia. It also explores the broader context of relations between Czechoslovakia and the Afro-American community against the backdrop of the early Cold War, decolonization processes, and the onset of the Civil Rights movement in the United States. In doing so, it also looks at mechanism of cultural exchange within the Radical Leftist internationalist networks, including the dominant role Robeson played as the “introducer” of African American music and culture in Czechoslovakia during the 1950s, and also at views of Czechoslovak cultural intermediaries, such as writer Josef Škvorecký (1924–2012) or musicologist, journalist and music critic Lubomír Dorůžka (1924–2013), on jazz and African American spirituals, which contrasted with those of Robeson. In the Czech context, Robeson is mainly remembered through Škvorecký’s critical comments, labelling Robeson “Stalin’s Black Apostle”. US accounts of Robeson, on the other hand, have often, and until recently, presented a depoliticized version of Robeson, understating the importance of his international activities. A view of Robeson’s career based on Czech and US archival sources, as well as new studies on Robeson and the internationalist networks within which he was operating, cast doubts on both of these narratives and offer a chance to reconsider and re-evaluate this historical figure and the transnational dynamics that brought him to Czechoslovakia.