Journal articles on the topic 'Polish art criticism, Impressionism'

The end of the XIXth — beginning of the XXth centuries is a special period in the history of world art culture, characterized by the emergence of such trends as modernism, post-impressionism, avant-gardism, abstractionism, cubism, surrealism and many others. The motto of XXth-century art was "Art into Life". Often new trends became a response to the demand of the mass consumer. One of them was the art of performance. Appearing as a rejection of traditional practices of painting, sculpture and theater, performance organically incorporated wellknown and new approaches and technologies that caused an alternative way of working with space and time. It should be noted that historiography focuses on materials that explore the origins of performance and installation on a global scale. The most significant are the works by American, Western European and Polish authors. At the same time, the historiographic review showed a lack of a large scientific heritage of Russian artists in the field of performance: the process of forming modern art criticism, which would reflect the later history of performance than the first half of the XXth century, is still out of the researchers' sight.

The aim of this article is to analyse the translation strategies used to translate Paul Gauguin’s painting titles from Tahitian and French to Polish. We will analyse the titles that the artist painted directly on the canvases by making them invariant just like the image itself. The translations analysed come from works on Gauguin’s art and Impressionism, published in Polish since the 1960s of the 20th century.

The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.

Abstract Background: A famous literary critic and writer, representative of the “Moloda Muza” group, B. Lepky was published in numerous Ukrainian and foreign journals in the early twentieth century. Today, his cooperation with Polish and German editions has been partially explored, but the Czech direction remains almost unclear. There are only individual references to B. Lepky's cultural publications in the “Slovanský přehled” journal in the works of V. Doroshenko, V. Lev, B. Rubchak. Purpose: The purpose of the study is to analyze the interpretative bases of B. Lepky's publications in “Slovanský přehled”, namely, five annual reviews of Ukrainian literature (1901, 1902, 1903, 1905, 1906) and three cultural pieces of knowledge: about the composer M. Lysenko, about the translation of short stories by M. Kotsiubynsky into Polish, and the scientific works of M. Hrushevsky, B. Barvinsky and V. Shchurat. Results: B. Lepky followed I. Franko in editing “Slovanský přehled” journal. I. Franko prepared the ground for the Czechs to familiarize them with Ukrainian literature. In a series of annual reviews, B. Lepky considered Ukrainian literature in the pan-European context, translating the realities of national culture into the language of universal cultural concepts. Not contradicting realism and modernism, the critic appraised the high artistic value of the works by Lesya Ukrainka, V. Stefanyk, M. Kotsyubynsky, O. Kobylyanska, which were marked by modern stylistic trends. Trying to convey the original content to the foreign reader, B. Lepky approached his critical speech to the poetic one, painting it with impressionistic strokes and symbolic imagery. The author concluded that the importance of B. Lepky’s Czech publications was important for understanding the ways in which Ukrainian writing was modernized and contextualized in Slavic and pan-European culture in the early twentieth century. Key words: Modernism period, literary process, critical writing, literary review, review, contextualization, impressionism, symbolism.

The article analyses the exhibition named „100 lat realizmu w sztuce polskiej” [100 Years of Realism in Polish Art] at the Academy of Fine Arts in Moscow in 1952 and its reception in the artistic environment of USSR in the context of Polish-Soviet artistic relations in 1949–1955. The exposition, prepared by the Committee of the International Cultural Cooperation with and the Ministry of Culture and Art, consisted of the Polish art of the 19th century and the art of a few previous years. It was supposed to present to the Soviet party the progress of the implementation of Socialist Realism in Poland on the basis of the Soviet example and Polish tradition of realistic art. However, the implementation of the scheme deviated from the official declarations due to both including in the exhibition the turn of the century, as well as presenting the issues of modernism and the selection of modern pieces, resulting from the specific emphases in the cultural policy of the time. The contemporary department was composed of pieces of artists from the ‘Sopot School’, combining in its art the Socialist Realism doctrine with elements of colourism. Opening the method onto elements of the Impressionism tradition was dictated by a need to break the deadlock which the Polish art found itself in soon after the 1st OWP. The exhibition caused a reaction in the environment of Soviet critics and artists, exposing differences in attitude towards art in the two countries, which, in the conditions of the political dominance of USSR, had been deepened further with time, impinging on the artistic relations dynamics.

The characteristics that contributed in the 1930s to the fame of A Grant Wood, Thomas Hart Benton, and John Steuart Curry, the three leaders of the Regionalist art movement, were the same that led to their being condemned as Fascists in the art criticism of the 1940s. Despite differences in their artistic styles, all three artists based their paintings in the 1930s on the life and land of specific locales in the Middle West. Each artist became associated with a particular region: Wood with Iowa, Benton with Missouri, and Curry with Kansas and later with Wisconsin. In their effort to celebrate the folk and tradition of these American regions, these artists relied heavily upon figurative styles and anecdotal narratives. They eradicated from their paintings the modernist styles such as Impressionism, Fauvism, and Cubism with which they had experimented in the 1910s and 1920s. Modernism, they now believed, was a difficult language, inaccessible to the ordinary public. Instead, these artists embraced a plain-speaking, folksy pictorial rhetoric.

The characteristics that contributed in the 1930s to the fame of A Grant Wood, Thomas Hart Benton, and John Steuart Curry, the three leaders of the Regionalist art movement, were the same that led to their being condemned as Fascists in the art criticism of the 1940s. Despite differences in their artistic styles, all three artists based their paintings in the 1930s on the life and land of specific locales in the Middle West. Each artist became associated with a particular region: Wood with Iowa, Benton with Missouri, and Curry with Kansas and later with Wisconsin. In their effort to celebrate the folk and tradition of these American regions, these artists relied heavily upon figurative styles and anecdotal narratives. They eradicated from their paintings the modernist styles such as Impressionism, Fauvism, and Cubism with which they had experimented in the 1910s and 1920s. Modernism, they now believed, was a difficult language, inaccessible to the ordinary public. Instead, these artists embraced a plain-speaking, folksy pictorial rhetoric.

The Viennese premieres of Dukas’sAriane et Barbe-bleueand Debussy’sPelléas et Mélisandein 1908 and 1911 occurred over a decade after Maeterlinck’s literary style and Fernand Khnopff’s paintings were praised by Secessionist critics, including Hermann Bahr and Ludwig Hevesi. In Vienna, fin-de-siècle discourse treats impressionism and symbolism as aesthetic outgrowths of Ernst Mach’s notion of ‘antimetaphysical’ modes of existence. This article explores the broader Viennese reception of symbolism and its influence on music criticism, which predominantly contends that Debussy and Dukas divert from Wagnerian techniques by cultivatingKlangempfindungen(acoustical sensations) and anti-thematic symphonic approaches to generate musical equivalents to the poetic and painterly incitation of psychophysical stimuli. Julius Korngold and other prominent music critics, some of whom were Debussy’s and Dukas’s exact contemporaries, describe how symbolist compositional syntax emerges as a musical terrain that produces a stark contrast between the suspension of latency and frenetic episodes. Symbolist composers accentuate this contrast to increase sensitivity to a literary device at the core of Maeterlinck’s art: the protagonists’ fixation on environmental conditions and changes, descriptive imagery that apprises audiences of their emotional state.

The article explores a paradox in Zola's writing: the resistance to advances in scientific theory by the author of Du Progrès dans les sciences et dans la poésie (1864), as the first of many such assimilations of scientific progress and artistic trends. This is exemplified by the challenge posed to his Naturalist aesthetic by Michel-Eugène Chevreul's seminal De la loi du contraste simultané des couleurs (1839), popularised during the period of Zola's most sustained art criticism. This radical revision of the science of optics is increasingly accommodated in contemporary painting, from 1880 onwards, at the very moment of Zola's disenchantment with Impressionism. Although L'Œuvre, his novel of 1886, is set in the Second Empire (consistent with the historical limits of Les Rougon-Macquart), Zola inserts into his narrative the theory of complementary colours, the awkward anachronism notwithstanding, to explain his fictional painter's creative impotence. In relation to the latter, the article looks in detail at the genesis and textual details of a key passage in the novel in which Zola's irony at the expense of Chevreul's theories is almost explicit. At least as telling is his response to unsolicited advice about them: ‘J’ai plus de confiance dans l'observation directe que dans la théorie’. One could hardly conjure up a more succinct summary of Zola's unreconstructed approach to the science of painting which simultaneously testifies to his own principles of representation.

This text concerns itself with Polish design and its criticism in the period of socialist realism (1949/50–1955). The title refers to a terminological proposal by Janusz Bogucki who looked for new terms for his work in the new system. The division into ‘pure’ and ‘usable’ arts was considered as an anachronism in socialism in which all artistic fields were to fulfil social functions. As optimal, the critic considered a division of arts into the ‘imaging’ (painting, sculpture, and graphic) and ‘formative’ (shaping human surroundings and public space – architecture, decoration and interior fittings, and objects of everyday usage). An intermediate ‘semi-imaging’ form was, for example, represented with a fabric or scenography. Bogucki defined the realism of a masterpiece as something that reflects reality by the use of means other than an image – it shapes and expresses reality. By avoiding unwanted associations with functionalism or constructivism, he showed ‘realistic’ features of objects and things: perspicuity, simplicity of composition, purposefulness and the appropriate usage of material and tools, breaking away from the pre-war ornamentation and avant-garde restraint of shapes. Masterpieces of ‘formative’ art were to fulfil the postulate of a national form; hence, the inspiration with a native tradition, folk art and handcraft was recommended. Crucial propagandistic slogans concerned popularization and ‘democratization’ of art connected with both creation and reception; industrial production pursuant to the models of professional artists as well as the working class, and folk and teen ‘collectives’ managed by them. Chosen institutions served popularization and democratization of socialist art. The 1952 Exhibition of Interior Architecture and Decorative Art and especially the criticism linked with it, regarding the assumptions of socialist realism and gradual abandoning the criteria of the doctrine from around 1954, are presented in this text. Reckoning with the method: during the public thaw (1956–1957), when categories of realism and national form were replaced with the imperative of modernity, constitutes a recapitulation.

<p>This report outlines the 7<sup>th</sup> International Congress of the International Martial Arts and Combat Sports Scientific Society (IMACSSS) and the 4<sup>th</sup> World Scientific Congress of Sports and Martial Arts (Rzeszow, Poland, October 17-19, 2018) to provide constructive criticism for future conferences. The conference drew numerous scholars from four continents and showcased research on both well-known martial arts and combat sports (e.g., Judo and Taekwondo), while providing a spotlight for less-researched arts (e.g., Malaysia’s Silat and various Polish art forms) as well. Presentations were on qualitative and quantitative research and spanned several academic disciplines. While the three-day conference was organized well and expertly run, slight changes to the schedule could maximize participants’ overall experience at future IMACSSS events.</p>

The information space of modernity requires from literary and artistic periodicals new forms of interaction between the participants of the communicative process. After all, with the advent of new media, writers are losing their niche in the space of literary publications. Such material placement cells are disappearing on the World Wide Web, being replaced by mass content. Considerable attention in literary and art magazines focuses on the qualitative transmission of intercultural experiences of generations. Under such conditions, there is a need to trace the Ukrainian-Polish literary relations in the era of convergent media. These aspects are reflected, for example, in the specifics of translations. A significant amount of correspondence, peer-review, and critical investigations of well-known figures of domestic literary criticism, which are connected with the writers of the neighboring country, allow the publication to open the curtain of perception of the world by Polish writers. The question of the peculiarities of communication between writers of Ukraine and Poland is interesting. What resources do writers use to reach consensus, seek collaboration, and engage in free dialogues, which are published by the editors of the analyzed journal. The study attempts to analyze the translation of Polish literature on the pages of the Courier Kryvbas magazine, from the perspective of the interaction between the author and the translator. The ways of their communication in the process of using the language codes of the countries are indicated. The most common genres of reflection of literary concepts on the pages of the Ukrainian edition are determined. Nowadays, various journalistic genres are being modified. The Courier of Kryvbas offers readers unusual forms of the artistic word, which are specified by the authors of the explorations themselves, in particular, reflections, thinkings, monologues, mentions, etc. The classic forms of text presentation are not left without attention.

Roman Ingarden (1893–1970) was a prominent Polish philosopher, phenomenologist, and student of Edmund Husserl. A characteristic feature of his works was the almost complete absence of analyzes from the history of philosophy. That is why it is so surprising that right after the end of World War II, the first text analyzed when Ingarden started working at the Jagiellonian University was Aristotle’s “Poetics.” Ingarden published the results of his research in Polish in 1948 in “Kwartalnik Filozoficzny” and in the early 1960s his essay was translated and published in the renowned American magazine “The Journal of Aesthetics and Art Criticism” as “A Marginal Commentary on Aristotle’s Poetics.” As far as I know today, this text does not arouse much interest among the many commentators and followers of Ingarden’s philosophy. Perhaps this state of affairs is justified: Ingarden’s own ideas are only repeated here, and their usefulness in the meaning of “Poetics” remains far from obvious. However, I think that this relative obscurity is worth considering now, because it shows how modern reason tries to control ancient concepts. The main purpose of this article is therefore to recon- struct the strategy by which philosophy tames the text of “Poetics,” especially its concepts such as catharsis and mimesis. The discovery and presentation of these treatments would not have been possible were it not for the mimetic theory of René Girad, which provides anthropological foundations for a critique of philosophical discourse.

The ordinary and extraordinarily mitigated imposition of penalty under Criminal Code following the revision of 20 February 2015The paper demonstrates the penal law consequences of making changes to the provisions of Art. 58 § 1, repealing Art. 58 § 3 and instead adding Art. 37a and Art. 37b to the Criminal Code of 1997 effected through the revision dated 20 February 2015 Journal of Laws item 396. The author points out that the intention to modify the policy followed by courts in their judicial decisions, most notably to significantly reduce the number of cases with sentences imposing penalty of deprivation of liberty, with a conditional suspension of its enforcement disturbs the logic of the system of sanctions on which the Criminal Code was based along with the entire system of criminal law to which the Criminal Code applies. Furthermore, the difference between the ordinary imposition of penalty and the extraordinarily mitigated imposition of penalty has been blurred, with the latter to be applied only when there are special grounds for such measures, which means only in exceptional situations meriting an extraordinarily mitigated consideration, which is not required when ruling the ordinary imposition of penalty.The paper also disputes the arguments according to which the provision of Art. 37a of the Criminal Code supplements simple sanctions providing only for imposition of deprivation of liberty with non-custodial alternative penalties such as fine or limitation of liberty. Criticism is also expressed with regard to the proposed reduction of the lowest penalty of deprivation of liberty from one month to one week.The paper calls for repealing Art. 37a of the Criminal Code and reviving the imposition of penalty stipulated in the repealed Art. 58 § 3 of the Criminal Code, however without the preference included there concerning the additional imposition of a penal measure. It is also pointed out that it is high time to carry out a thorough revision of the penal sanctions for all kinds of crimes stipulated in the Polish legal order with the author naming a number of specific suggestions in this respect.

The article analyzes a work of the first interwar art association ― the Circle of Ukrainian Art Figures (HDUM) in the field of exhibition organization. It reveals the role of this society in consolidating the Ukrainian artists living and working in Western (Polish-controlled), and Great (Soviet) Ukraine. About 30 publications reflecting a reception of exhibitions of HDUM by critics and Lviv public have been introduced into scholarly circulation. A little-researched aspect is yet how creative efforts of the HDUM were received by its contemporaries, as well as by the Ukrainian press. Therefore our article aims to present the overview of activities of the association on the basis of content of the Ukrainian (mainly, Lviv) publications of the 1920s ― the newspapers «Hromadskyi Vistnyk», «Dilo», magazines «Literaturno-Naukovyi Vistnyk», «Mytusa», «Nova Ukraina», «Ukrayins’ke Mystetsvo». HDUM was founded in Lviv on 28 December 1921 thanks to an initiative of the well-known Lviv art critic Mykola Golubets’ and émigré artists Petro Kholodnyi (Elder) and Pavlo Kozhun. One of the key principles of the Society was to shape national identity in artists’ circles and ordinary citizens. Pursuing this aim, HDUM actively conducted exhibiting work. Specifically, every exhibition was followed by issuing a catalog. According to the press reports of that time, the first two Ukrainian art exhibitions took place in the halls of the Museum of Shevchenko Scientific Society. They received positive press coverage. All Ukrainian artists wishing to participate in these exhibitions were invited regardless of direction or art school they represented, as well as the HDUM affiliation. The next shows were on display in the halls of the National Museum. The public had felt some tension already during the third expo organization, and the next one didn’t match expectations of its organizers and wide public explicitly. Consequently, active initiatives of the association were gradually curtailed, although it formally continued to be operational yet for three years. Keywords: HDUM, exposition, press, publication, criticism, art.

Pursuant to the art. 78 of the Constitution of the Republic of Poland each party has the right to appeal against judgments and decisions issued in the first instance. The Constitution also stipulates that administrative courts control the activity of administration in at least two-tier proceedings. Pursuant to the above, in Poland, decisions are issued in two-tier general administrative proceedings and may be subject to review in two-tier court administrative proceedings. The number and structure of procedures of appeal against administrative decisions have been a subject of discussion for years. Criticism of the current solution comes, among others, from local self-government representatives whose bodies issue the largest number of decisions in Poland. These issues have recently become even more relevant due to statutory obligation of reviewing Polish legislation in terms of legitimacy of reducing the number of administrative instances. The subject of the study is an analysis of possibility and purposefulness of limiting the number of instances in the administrative procedure, conducted on the example of a procedure for reviewing decisions of local self-government bodies. The reflection was made taking into account systemic and procedural position of Self-Government Boards of Appeal.

The article is devoted to the problem of the multiculturalism by Joseph Conrad, the English writer and the world classic of the 20th century, who, due to the preservation of his Polish national-cultural identity, and by estrangement from this identity in his artistic consciousness, was able to influence the intellectual and artistic atmosphere in England of his times. In this way, the Polish identity became a background for Conrad’s artistic creativity, and at the same time, universal values and criteria were the key to the successful acculturation in English society in its one of the most effective strategies – the integration strategy. In this case Conrad acquired another national-cultural identity, English, – while retaining his native, Polish. Undoubtedly, one of the most important issues touched by almost all researchers is his arrival in English literature, a Pole in origin, who only arrived in England in the twenty-first year, actually emigrating, and for a very short time becaming a venerable writer. It should be noted that, taking into account the peculiarities of English mentality, the task was rather uneasy. All this undoubtedly led to the development of a variety of approaches to understanding the creative personality and rich heritage of Joseph Conrad. Foreign literary and critical academic circles, which introduced the concept of «new English literature» (meaning the post-colonial period), do not take into account such figures of the English literary process as Joseph Conrad, whose work falls out of its chronological framework, and indicates that multicultural literature appeared on the approaches to the twentieth century. However, only nowadays it was possible that such an approach was based on the principles of multiculturalism, that is, the phenomenon justified in the 90s of the XX century, although, as the majority of scholars testify, it existed for a long time in cultural studies, literary criticism, art history and philosophy. We have chosen this approach. The research is devoted to the study of the problems of national-cultural identity by Joseph Conrad, as well as the mechanism of his acculturation in the conditions of emigration.

Three major aspects of Volodymyr Yaniv’s life-creativity are described in the article: 1. biographical (his forma- tion as a creative person); 2. literary and art studies; 3. essayistic (author’s stories about the meetings with the perennial rec- tor of UFU). In parallel, there are “plots” about Volodymyr Yaniv as s historian of the church and Christianity, as a religious scholar, about his contacts with the Vatican, and in particular with His Beatitude Josyf Slipyj in the study. We can trace the “odyssey” of a young ascetic of the Galician revolutionary movement for the statehood and the unity of Ukrainian lands. A separate vision in the life of V. Yaniv is the magazine “Student’s Way”. He was fond of modern processes that took place in the cultural and artistic sphere. Studying poetry of European poets, poetry of Ukrainian creative youth, in particular B.-I. Antonych, V. Havrylyuk, O. Olzhych, poets of the Right-Bank Ukraine, Yaniv developed for himself the criteria for evaluating a literary work. The Lviv weekly “Towards” and the month “Dazhbog” and, of course, the poetry of the “Prague School” were played a special role for Yaniv as a poet. The famous Polish writers, supporters of the so-called “Ukrainian school”, Severin Goshchin- sky, Alexander Fredro, Leopold Staff, Jan Kasprovich, Maria Konopnitskaya whose creativity, undoubtedly, also influenced Volodymyr Yaniv lived and worked in Lviv. The ideological and thematic space of the poetry of Yaniv, in particular the collections “The Sun and the Lattices” and “The Foliage Fragments”, his prison poems, poetry about the Kruty heroes, are analyzed in the article. Lyro-epic creativity of V. Ya- niv in this thematic direction in her own way is biographical. The collection “Ways,” based on the scientific observations of the German, Polish and Czech theorists of psychoanalysis, is based on the ethno-psychoanalysis of the Ukrainian political prisoner. V. Yaniv is a scientist, psychologist, ethnic psychologist of the Ukrainian “soul”, sociologist and literary critic, art critic, organizer of Ukrainian science and church-religious life, public figure, professor of the Ukrainian Catholic University named after St Clemens, the Pope in Rome. The sacred motives are an organic page in poetry, literary criticism and, in general, in the works of Volodymyr Yaniv. The author used the bibliographic literature about the life and work of Volodymyr Yaniv, which, however, doesn’t allevi- ate his individual views.

EZRA’S CAGE”. BETWEEN POETRY AND POLITICSEzra Pound 1885–1975 was, next to Thomas Stearns Eliot, the most prominent American poet of modernist. He was considered the creator of vorticism and imagism — modern trends in art and world culture. In his works he reached to different eras and cultural trends. He was as well fascinated by medieval Provençal, Spanish and Italian literature, and Japanese art of haiku. On his work also had an impact scholasticism, Confucianism and Far East literature. In addition to poetry, Pound was also involved in literary criticism, painting and sculpture, he wrote historiosophical es­says and dramas. The greatest fame brought him, however, written for many years, „Canto”. During his stay in the British Isles he also dealt with politics and economics. He was considered a supporter of the theory of Social Credit of Hugh Douglas Clifford, aBritish engineer and economic theorist. In the early twenties Pound went to Italy. Here he became fascinated with fascism and the person of Benitto Musollini. In his works including his poetic works appeared clear fascist and anti-Semitic accents. He criticized Jewish international financiers and banking critique of usury. During World War II he gave propaganda „talks” in the Italian radio. He praised the organization of the fascist state and fascism as an idea, and at the same time warned the threat from international Jewish conspiracy. His views meant that he was accused of collaboration and treason. He was arrested and imprisoned in the US prison camp near Genoa. He spent almost amonth in aclosed cage. During his stay in the camp he had nervous breakdown. After transportation to the United States for many years he was locked out in hospital for mentally ill. After leaving the hospital, he returned to public space. Still creative, he was nominated for the most prestigious literary awards. His works have been translated into many languages around the world, including Polish. He died in Italy in 1975.

Background. The problem of self-determination of an artist who apprehends oneself as a representative of a certain nation, but is forced to selfactualize in the cultural space of a multinational empire, remained relevant for a long period for the majority of representatives of the Polish creative intelligentsia. Among them, it is appropriate to recall, in first, Karol Szymanowski, whose creative development took place in a multicultural environment. The outstanding musician was feeling his involvement not only in the European tradition in general, but also in the Antique, Eastern, Polish, Russian, and, especially, Ukrainian culture, because his life for 36 years was related with Ukraine. The temporal distance that has formed between the eras, the changes in cultural paradigms that have now taken place, encourage us to rethink the approaches to the various cultural-creating activities of artists in past eras, to evaluate them from modern positions. If we consider multiculturalism in a positive sense – as a phenomenon of social life characterized by coexistence and active interaction within one society of many cultures, then the analysis of Szymanowski’s creative evolution in this context looks relevant for modern cultural figures. At the same time, in Ukraine, there has not yet been a steady interest of scientists in the work by K. Szymanowski, although certain steps are being taken in this direction: PhD theses by Anatolii Kalynychenko, Hanna Seredenko, Oleksandr Serdiuk, Dmitriy Poliachok have appeared that explore some aspects of the Polish artist’s creativity, taking into account modern methodological tools. An important function of stimulating interest in the creative figure of Szymanowski is performed, in particular, by the “Kropyvnytskyi Museum of Musical Culture named after K. Szymanowski” (headed by Olexandr Polyachok) that initiates various projects related to the popularization of Shimanovsky’s creative heritage, including holding scientific conferences and publishing. A significant contribution to the study of various aspects of the K. Szymanowski’s creative activity was made by Polish scientists, in particular, Malgorzata Komorowska, Zofia Helman, Teresa Chilińska, but their works are in a greater degree focused on the analysis of the musician’s creativity in the Polish cultural context. Objectives of the study. This article is destined to examine the creative personality of the Polish artist in a new problematic field. The purpose of the study is to identify the features of the creative formation and growth of K. Szymanowski in the context of multiculturalism. The object of analysis is the creative activity of K. Szymanowski; the subject, on which the attention is focused, is the peculiarities of cultural and creative attitudes formation, the principles of artistic activity, the means of cultural communication of K. Szymanowski in the conditions of multiculturalism. Research results. The scientific novelty of the research consists in the identification of little-known facts of the creative biography of K. Szymanowski and their new interpretation, the formation of new ideas about the specifics of his creative approaches both in composing and literary work. The important role of self-education in his creative development, the ability for self-development, conscious cultural pluralism formed in the context of multicultural conditions, a tendency to innovate (for example, intense interest in new artistic and stylistic trends) are emphasized. Attention is drawn to the originality of Szymanowski’s relationships with various cultural environments, with which he was closely linked by fate. After all, his formation as a personality took place under the influence of several cultures, the features of which were intertwined, coexisting in the everyday life of his family estate in the Ukrainian village Timoshivka and Elisavetgrad, the city of his childhood and youth. The significant influence of regular visits to European cultural centers and travels to the countries of the Arab East on the formation of the cultural identity of the artist is also noted. The analysis of archival materials, in particular, comments in the margins of the pages of books from the family library, showed the enormous influence of literary texts on the composer’s cultural identity. Szymanowski carefully read, thought over and discussed with his close ones literary works, various works of philosophers and art historians. Szymanowski’s archives contain notes on the history of art of Ancient Greece in French, the history of the culture of Ancient Rome in German and Russian, extracts from the history of the origins of Christianity, the culture of Sicily and the life of King Roger II, notes from the letters by Seneca, Leonardo da Vinci, Machiavelli, works of Novalis, studies on oriental culture, etc. The composer was fascinated by the ideas of the synthesis of cultures (Ancient Greek, Ancient Roman, Byzantine, Arabic, Proto-Slavic), of religious syncretism in various forms (Christian modernism, paneroticism, etc.). Embodying his creative intentions, Szymanowski went through a fascination with a wide variety of aesthetic ideas. In the process of realizing artistic synthesis, along with the idea of cultural syncretism, signs of aesthetics of romanticism and impressionism, symbolism and modernism, expressionism and neo-folkloric trend often coexisted and intersected in his works. As a conclusion, we note: the creative formation and evolution of K. Szymanowski took place in multicultural conditions. Realizing himself a descendant of the Polish gentry family, he was at the same time a citizen of the Russian Empire and was formed as a person under the influence of many cultures, which were intricately intertwined in the space where the formation of his individuality took place, which, eventually, determined the multicultural profile of his artistic work. Szymanowski’s cultural positioning we propose to consider, to a certain extent, according to the formula: “one of our own among strangers, a stranger among our own”, because his creative searches, in which the polylogue of cultures acquired signs of multiculturalism, were not always perceived adequately by his contemporaries, especially in those cultural centers, where the traditional values of the national culture were considered priority. The artistic, aesthetic and cultural paradigms of the 21st century turn out to be largely consonant with those that determined the creative preferences of the Polish artist, which leads to the actualization of the creativity of the latter in the conditions of the dominance of the postmodern situation in the contemporary cultural space.

Exhibitions of contemporary designs accompanied by their public criticism and assessment by a commission were meant to be a tool in implementing Socrealism in Polish architecture – a process which had been announced in 1949. The First National Exposition of Architectural Design (OPA, 22 January – 28 February 1951), housed in the Zachęta – National Gallery of Art building in Warsaw, was one of the most widely advertised events of this kind. Its discussion exposes the peculiar atmosphere of these events, the strategies of persuasion and instruction as employed by the organisers in relation to ideological and aesthetic issues, and the reactions of the architects participating in the debates, who generally tried to avoid the aggressive tone of the polemic. In addition, the primacy of technocratic economics, which was later to become one of the key elements of policies concerning the construction industry in the People’s Republic of Poland, was fi rst revealed at the OPA, if only still in the background. The exhibition at the Zachęta, treated as a production meeting in progress, was to be a preparatory stage for a sweeping exhibition that would present an all-inclusive vision of both historical and contemporary Polish architecture. Such an event accorded with the universal schemata of rituals of social life structured in keeping in line with Stalinism, but the path to the First General Exhibition of Architecture in the People’s Republic of Poland (PWA, 8 March – 22 April 1953) turned out not to be easy. Problems concerning its fi nancing and venue, as well as the lack of political support, resulted in its opening, in the Zachęta building, soon after Stalin’s death. In general, the exhibition’s arrangement followed regional divisions, i.e. both the historical and contemporary material were arranged according to region. An analysis of this plan reveals that it was profoundly ill-suited to the realities of producing architecture in the state-owned design offi ces when the emphasis on typicality was increasing. The initial stage of the critique of Socrealism is also inseparably linked with the PWA; the essay appraising the exhibited designs as delivered at the First National Council of Architects in April 1953 must be considered the fi rst text of this kind. Both the OPA and the PWA are, above all, reminders of the practice of institutional coercion and of the ideological approach to history that were typical of Stalinism. At the same time, however, it should not be forgotten that the exhibition of 1953 resulted in the publication of a series of valuable publications concerning history and art, while the Regional Architectural Shows, instituted in order to select designs to be exhibited at the PWA, evolved into recurring events which in some centres are still organised today.

Dr. Miloje Milojevic (1884-1946) was a central figure in Serbian music criticism and academic essays between the World Wars. A large part of his writings on music were dedicated to the issue of the Serbian ?national music style?, its means of expression, and the question of modernity, i. e. to what extent modernity is desirable in the ?national style?. This paper analyzes some twenty articles - reviews, essays, and writings for special occasions - published by Milojevic between 1912 and 1942 in various Serbian newspapers magazines and collections: Srpski knjizevni glasnik (The Serbian Literary Magazine, 1912, 1913, 1914, 1923, 1924, 1935), Prosvetni glasnik (The Educational Herald, 1914, 1921, 1942), Politika (The Politics, 1921, 1922 1923, 1937, 1938, 1940, 1941), Muzika (The Music, twice in 1928) Spomenica-album Udruzenja muzikanata Kraljevine Jugoslavije 1928-1930 (The Commemorative Volume - The Album of the Society of Musicians of the Kingdom of Yugoslavia 1928-1930, 1930), Smena (The Change, 1938), and Slavenska muzika (The Slavonic Music, 1940). In the course of those thirty years Milojevic passionately believed that the future of Serbian music lies in the ?national style?, i.e. in the artistic transformation of anonymous Serbian folk songs and melodies. In spite of the changes of styles that occurred over the years, he never gave up anticipating the appearance of an ingenious composer who would develop the ?national style? to its climax and enrich Serbian music with ?national? symphonies, operas and chamber music. Milojevic was in favour of a ?national style? mainly on principle. He rarely got into a discussion about the stylistic and technical means he considered most suitable for the ?national style?. In his text Nas muzicko umetnicki program (Our music and artistic programme), published in the Serbian Literary Magazine in 1913, and another article, Za folklornu muziku (In favour of Folk Music), published in the Belgrade daily newspaper Politics in 1921, he recommended that Serbian ?national style? composers followed the model of some representatives of the European national schools of romanticism impressionism and moderately modern music. In a special kind of manifesto Za ideju umetnosti i umetnickog nacionalizma kod nas (In favour of the idea of art and artistic nationalism in Serbia), published in 1935 in the Serbian Literary Magazine, he gave an indirect answer to the question of which means of musical expression he preferred in the ?national style?. For example, he singled out the composition Sever duva (North Wind) by Kosta P. Manojlovic (1890-1949), from his collection of choral songs Pesme zemlje Skenderbegove (The Songs from the Land of Skenderbeg, 1933), as an outstanding example of what he meant by ?national style?. This Albanian folk music was transformed into a relatively modern, but yet not avant-garde composition. Therein lies the answer as to what kind of ?national style? Milojevic preferred. An advocate of a moderately modern music language, he wished Serbian art music to use its very rich folk heritage as best as it could. He was well aware that times had changed, and that there was not much inclination towards this style and ideology in the interwar period. However, he never abandoned this idea. Basically, he never accepted more radical, expressionist treatments of folk elements as a solution to the problems of ?national style?. It is also very significant that he never mentioned the name B?la Bart?k in his writings, which is something we analyze in this paper. He was never able to give up romanticism, a style that never had time to fully develop in Serbian music. Serbian folk music was a perfect basis for composing in a romantic style. Nevertheless, due to many unfavourable circumstances in Serbian history, the Serbs became part of European music world only at the beginning of the 20th century, when it was too late to develop a modern romantic national style.

This paper analyses the reception of Latin language and culture in the research of the Grand Duchy of Lithuania. It focuses on the works of various disciplines – social and cultural history, literary research, art criticism, etc. – and seeks to identify the recurring themes, symbols and topics that comprise homogenous narratives and interpretations. They consolidate the findings of different fields of study and thus allow to analyse the Latinitas of the Grand Duchy of Lithuania as an integral part of the political community’s identity.The symbols of Latin language and culture can be identified as a basis for a Shift from oral to written culture. It conveys the ideas of order and organisation, as it transforms customary law into a codified one, a natural religion into that based on Scripture, etc. It alters the society as well, mainly because writing and written culture marks a shift in identity and behaviour. Also, by focusing on social and educational aspects, the Shift marks an institutional change, which permeates the developments of the state and society as a whole.The multipolar cultural field of the Grand Duchy of Lithuania is described by four cultural models – Polish, Lithuanian, Ruthenian, and Latin. The metaphor of Interaction shows how Latin culture and language is seen as one of the four ideological alternatives that legitimize the state, dynasty and sovereignty.Thirdly, the metaphor of Tension depicts Latinitas as part of the dichotomy between Eastern and Western civilizations by expressing the symbolical content of the latter. This narrative also emphasizes the internal confessional disputes inside the Western Church, and by exploiting the specific understanding of the Renaissance humanism, it becomes a means to understand sociocultural conflicts of the Early Modern state.The interpretation of Latinitas as a communication channel is nested under the metaphor of Medium. Works in this category usually portray Latin language as an expression of a social, economic, political, etc. status quo, which differs in each European state. Latin culture thus helps to articulate national interests and identity, and enables the cultural exchange among the Western countries as well.Finally, by emphasizing the poor literacy of the society and only limited possibilities to learn Latin and acknowledge its cultural code, researchers portray Latinitas as a Secret. The speakers and writers of Latin form a hermetic group, possessing the knowledge of a cultural matrix inaccessible to others. The dignity of Latin language also strengthens the status of vernacular languages, and thus accumulates the process of identity formation.These five narratives exemplify how Latinitas is embedded within the economic, political, and cultural activities of the society. It also depicts the different ways by which it becomes an integrating principle of the identity of the intellectual and political classes in the Grand Duchy of Lithuania. It provides an account of Roman descent, sustains the claim for political sovereignty, and indicates the civilizing process. By adopting those five different narratives, researchers may further analyse Latinitas not only as a separate cultural layer, but as a part of social identity as well.

Background:The deepening of knowledge about the religious and cultural links between the southern and eastern Slavs during the Middle Ages requires deep scientific reflection, comprehensive understanding of all the best practices, especially from the point of view of modern methodological approaches. It has been done a lot at the level of narrow specializations, codicology, philology, paleography, art criticism, but in general, the significant changes have not happened in summarizing the results of these various studies, which makes it impossible to create a clearer picture of the process as a whole, in motion and variety of manifestations. An important step in this direction should be the development of general periodization, which would take into considerationthe key phenomena not only of literary and literary life, but also of all other spheres of these relations. An important step in this direction should be the development of general periodization, which would take into consideration the key phenomena not only of book and literary life, but also of all other spheres of these relations. Purpose: Taking into account the vastness of the research topic, it is worth noting that the author does not aim to deeply and comprehensively analyze all the works that in one way or another determine the chronology of the main stages of medieval religious and cultural relations between the Orthodox Slavs. Many of these publications, moreover, express their views on the temporal markers of the process in question, which largely coincide with already established periodization (sometimes partially modified by binding to the turning points of the history of the Balkan countries, or Rus, or taking into consideration specific features of the interaction process itself). Therefore, the object of our consideration was only those works that were most important for the development, supplementation, concretization or change of the periodization of the Southeastern Slavic relations in the Middle Ages as a whole or in some of its stages; as well as those that contain important considerations and remarks regarding the dating of the underlying phenomena of the process. Results: The problem of the periodization of South-East Slavic religious-cultural interaction during the Middle Ages remains actual and needs special and priority attention. The criteria and, in general, the schemes of chronological systematization of the material, developed by previous generations of scientists, are largely outdated and contain conflicting and incompatible points. Their productive revision is possible only if a comprehensive comparison and generalization of the results of the study of all major points of contact between the religious and cultural life of Rus and the South Slavic countries. In addition, in this context, time periods are particularly noticeable, such as the second half of the IX–X c., the second half of the XI – the end of the XII c.,the second half of the XIII–the first half of the XIV c., the second half of the XV – the beginning of the XVI c. of which we have too little information, so they seem to be partly lost, fall out of general narratives. Accordingly, a more thorough study of them is potentially able to adjust and refine the stages of this complex and time-consuming process. And, importantly, when it comes to Rus, especially during the late Middle Ages, it is also very important to take into account the local features of its development, in accordance with the borders of the states (Moscow State, Grand Duchy of Lithuania and the Polish Kingdom) that existed in its territory as well as the jurisdictional boundaries of the divided Kyiv Metropolitanate. Keywords: periodization schemes, religious and cultural relations, the Middle Ages, the southern and eastern Slavs, Rus, Bulgaria, Serbia.

The paper studies the impact of various stylistic trends of the European innovative art of the XX century, 1920s-1980s in particular, on visual arts of Iran. The objective of the study is a) to examine the activity of masters Hossein Behzad, Andre Sevryugin and Hasanali Vaziri, who taught at the School of Painting and Sculpture, founded on the initiative of Kyamal al Molq in Tehran; b) to assess the contribution to Iranian visual arts of the pioneers of innovative movement in Iran Kalal Ziapuri, Ahmad Esfandiari, Markos Grigoryan and Sohrab Sepehri, as well as the pioneers of the Saggahane movement Hossein Zenderudi and Parviz Tanavoli. To conduct the investigation, the widely applied in art criticism descriptive, graphical and analytic-comparative methods were employed. As a result of the analysis, it has been established that the European influence on the art of Iranian artists is predominantly to be found in the outward appearance and technical execution. While adhering in their creation to this or that trend of European modernism, such as impressionism, post-impressionism, cubism, abstractionism and surrealism, they, however, in order to preserve their cultural identity, draw upon the centuries-old national traditions.

Art criticism was developed in thelate 19th century with the effects of Impressionism. Nowadays, rather than the criticisms that contribute to the conceptual content of contemporary art by contributing, it is the word to reinterpreted as a derivative of the exhibition texts. The aim of this study contributing to the field of art criticism by analyzing in detail the “The Oath of the Horatii” which was made by Jacques Louis David. In this Classical Period piece, the inspiration of the Roman periodremains, has created the main theme of the picture of Neo-Classical; David has taken the lead role in putting this understanding into perspective. The main theme of the work is love of the holy country, side issues are patriotism and heroism. The reason for choosing this work in this study; this masterpiece is not only in the Neo-Classicalism but also its pioneering, guiding and progressive nature of art and Classical understanding, and it has taken its place in the history of art with a highly original style. When dealt with from the point of view of art education, detailed analysis of painting works will be guided teachers in Visual Arts field, students, artists who are working in the field of painting arts, and people who are interested in arts. Keywords: Art Criticism, Jacques Louis David, The Oath of the Horatii.

The purpose of the article is to provide systematization and synthesis of data concerning the history of the separate directions of musical art in Ukraine in the XX century. Methodology. General scientific methods of research, analytical, typological, semantic, and comparative analysis - are applied to the terminological definition of a conceptual framework of the history of musical art and justification of its theoretical art criticism application. The scientific novelty consists in consideration of musical art in Ukraine in the XX century as a certain welfare community. Conclusions. The article considers the history of certain areas of musical art in Ukraine in the twentieth century. It was established that at the stage of the emergence of musical art in Ukraine, the initial music of a syncretic nature developed. This trend consisted in the fact that music, dance, song, and poetry were in constant unity and, accompanied both ceremonies, rites and rituals, and everyday life. During the twentieth century, Ukrainian music in a significant variety of genres and forms is widespread in our country and beyond. Ukrainian artists actively mastered classical European instrumental genres, including the Baroque suite, chamber sonata, trio, quartet, quintet. It was at this time that the aesthetics of the Art Nouveau era dictated an appeal to the style of impressionism, expressionism, and other directions of Art Nouveau (in association with traditional genres, forms, and means of musical expressiveness). This has had an appropriate impact on the field of music education. The development of Ukrainian professional music is associated with the evolution of Ukrainian statehood, which only in the 20th century received the driving forces for formation. This state dynamics influenced the development of Ukrainian culture (and musical art) as an integrated system that is necessary for the active development of the society of Ukraine and the international community as a whole. Speaking about the interaction following the results of the ХХ century of innovations and traditions (archaics) in the musical art of Ukraine, it should be pointed out that any tradition is an innovation in the past, and any innovation is potentially a tradition in the future. In addition, it is important that novelty and archaic in the composer's work should complement each other. It is through this trend that innovations in musical art differ significantly from innovations in technology, where a return to archaic cannot be considered an innovative development.
 Keywords: art, music, musical works, music schools, the ХХ century, directions, development innovations.

AbstractThe present article addresses the question whether the wide and disparate field of Cognitive Literary Studies (CLS) has met the goal set by its representatives: to provide more authentic, intelligible and meaningful work than the traditional literary scholarship against which it positions itself. When »cognition« entered literary studies in around the 1990s, this was seen to announce the dawning of a new era, characterised by a rejuvenation of the field with the aid of interdisciplinary input, which simultaneously promised a return to its fundamental interest in literary texts. These objectives were accompanied by a growing disaffection with dominant theoretical paradigms (e.g. post-structuralism) and a forthright commitment to bridging the Cartesian dualism purportedly dominating the humanities. From the outset, however, CLS was greeted with criticism both regarding the reliability of its methodological basis and the usefulness of its results. These weaknesses have on the whole not been remedied and their continuing presence is highlighted by the field’s location at the margins of literary scholarship a quarter of a century after the »cognitive turn«. My taking up the longstanding debate surrounding CLS and returning to issues that may appear dated to some is not only indicatedI begin by considering the methodological flaws that critics of CLS identified already at its inception, focusing on the one hand on the unsubstantiated foundations of its claims and on the other on its resistance to providing a precise definition of its key concept »embodiment«. As many other critics have already pointed out, the field’s most problematic assertion is that the products of the human mind, be they mental schemata or figurative language (especially metaphors), are indicative of how human cognition works generally. While this naturalisation of literary form as the structuring principle of human cognition may entail a reassuring revaluation of literary scholarship, it is based on rather simplistic and often unsupported assumptions about the nature of cognitive processes. At the same time, this conflation of literary language and cognitive structure has prevented scholars from asking questions of genuinely literary import. Instead, CLS tends to take literature as a repository of natural language to be scanned for evidence of whatever cognitive phenomena are at stake.Furthermore, CLS’s attention to the text is also indicative of insufficient attention within the field to all that literature doesThe unease surrounding biological matters in CLS persists in recent reconceptualisations of its premises developed with the aim of responding to these criticisms, to which I then turn. Rather than resolving its questionable claims, CLS has branched out into ever new areas, for instance by contextualising cognitive processes, investigating larger, more complex textual phenomena (blends) and studying social or extended cognition rather than individual minds. These reconceptualisations, productive though they may have been within the field of CLS, have merely replicated its fundamental problems and are thus subject to the same charges as earlier forms of cognitive literary scholarship.In conclusion, I argue that to comprehend the embodied responses that CLS currently mainly assumes as givens these would have to be identified and pried apart from the multifarious manifestations by which literary art appeals to the human mind. For that, however, scholars would have to accept the existence of a certain cognitive »norm«, i.e. a »human nature«, without which the most radical theory of embodiment leads to the very impressionism against which CLS initially positioned itself. This would require, above all, that cognitive literary scholars establish clarity about their key term »embodiment« and, in order to do so, embrace research from disciplines they typically eschew: notably the »hard« neurosciences and psychology (both cognitive and evolutionary); furthermore, it would require them to limit their expectations about the explanatory scope of CLS and its innovative force within traditional scholarship.