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The PowerPoint presentation on Relief Work with Iris Folding in Primary School is designed for aspiring primary school teachers, professors of art and craft educationand individuals who are interested in this topic. The presentation defines key terms such as "Relief" and "Iris Folding" and highlights the competencies that can be developed through this activity. It also provides a step-by-step process for creating an iris folded relief work, including selecting appropriate materials, cutting and folding techniques, and assembling the final piece. Overall, the presentation aims to introduce the art of relief work and the technique of iris folding to its audience, encouraging them to develop their creativity, dexterity, and problem-solving skills in a fun and engaging way.

Die meisten kulturellen Einrichtungen bzw. Betriebe mit künstlerischem Anspruch wie Theater und Orchester werden betrieblich mitbestimmt. Allerdings gelten für sie Einschränkungen als Tendenzbetriebe, insbesondere sollen Nicht-Künstler nicht in künstlerischen Belangen mitbestimmen, weshalb es eigene Vertretungsorgane für Künstler gibt. In öffentlich-rechtlichen Betrieben ist außerdem die grundgesetzlich geschützte Freiheit der Kunst unmittelbar relevant und schützt den künstlerischen Bereich. Dabei können von der Mitbestimmung neben den Kulturschaffenden auch die Kunst und ihre Rezipienten profitieren., Most cultural institutions or organisations with artistic standards, such as theatres and orchestras, are co-determined at the plant-level. However, they are subject to limitations as tendential companies, in particular, non-artists should not have a say in artistic matters, which is why there are separate representative bodies for artists. Moreover, the constitutionally protected freedom of art is directly relevant in public companies and protects the artistic area. In addition to those who create culture, the art itself and its recipients can also benefit from co-determination.

The aim of this article is to show, in which way art can be used as an instrument, of self-conquest, self-finding and self-rescue as not to be forgotten by creating the appropriate distance, saving us from brutality and severity of reality and given times in which we live.The example of the Jewish artist Charlotte Salomon of approximately 1325 painted sheets, from which 769 represent her biographic-historical masterpiece Life? or Theatre? A song play. It illustrates like a play in the form of a storyboard in word and picture her quite short life, her childhood and adolescence in the times of Weimar Republic, her antisemitic experiences at the Academy of Art, the machinery of the Nazi regime. She created her series of paintings over the duration of approximately eighteen months between 1940 and 1942. Salomon intertwined factual details from the memory of her childhood and adolescence and exile life. It is a reenactment, a conflation that raises compelling questions about the formation and operation of memory, showing both sides: the traumatic memory of the tragic family history and the present historical events of the Second World War, which she experienced and witnessed by herself. Charlotte Salomon created a multimedia work by combining colour, literature and music in an expressionistic way, using techniques from painters like van Gogh, Chagall, Munch and Nolde, to visualize in form of comics and musical settings, consisting of the chosen palette of music pieces from classical music to modern pop songs. Her complex drama is divided into three parts in a prologue; a main part and an epilogue like a theatre play.Her work is nothing else as a synthetic depiction of life and unfulfilled love, suffering and death, created to survive. This intention of Charlotte Salomon confirms especially her own words, of the last gouache from the postscript on her back: Life? or Theatre? Celem poniższego artykułu jest zaprezentowanie sposobu w jaki sztuka może posłużyć jako skuteczny środek do przezwyciężenia, odnalezienia i ocalenia samego siebie, by nie ulec zapomnieniu. Sztuka potrafi tworzyć swoisty dystans, chroniący nas przed brutalnością i surowością rzeczywistości wczasach w których nam dano żyć.Arcydzieło autobiograficzno-historyczne Życie? czy teatr? Śpiewogra pochodzącej z asymilowanej rodziny żydowskiej Charlotte Salomon, składa się z 1325 zamalowanych kartek, z których 769 są treści biograficznej. Dzieło, którego struktura przypomina sztukę teatralną w formie scenorysu w słowie i obrazie, opisuje krótkie życie autorki: jej dzieciństwo, młodość w Republice Weimarskiej, jej doświadczenia antysemityzmu w Akademii Sztuk Pięknych i machinę reżimu nazistowskiego. W latach 1940 do 1942, na przestrzeni 18 miesięcy, Charlotte Salomon stworzyła serię obrazów, które odzwierciedlają faktyczne szczegóły z jej historii rodzinnej, dzieciństwa, młodości i życia na wygnaniu z aktualnymi wydarzeniami historycznymi, których jest świadkiem. W ten sposób autorka pokazuje obie strony: tragiczną historię rodzinną i historię aktualnych wydarzeń historycznych II wojny światowej, których jest świadkiem. Salomon łączy w swojej pracy w ekspresjonistyczny i modernistyczny sposób barwę, literaturę i muzykę, tworząc dzieło multimedialne. Używa takich technik malarskich jak van Gogh, Chagall, Munch czy Nolde, które służą wizualizacji. Obrazy o charakterze komiksu opatrzone są niejednokrotnie fragmentami muzycznymi od muzyki klasycznej do nowoczesnej. Jej dramat składa się z trzech części: z prologu, części głównej i epilogu.Jej kompleksowe i wielowarstwowe dzieło jest niczym syntetyczny, szczegółowy opis życia, niespełnionej miłości, cierpienia i śmierci. Stworzone by przetrwać. Tą intencję potwierdza także postscriptum utrwalone na ostatnim gwaszu na jej plecach: „Życie? czy teatr?”

In dieser Arbeit wird die Thematik der Besteuerung der international tätigen Musiker behandelt. Ziel dieser Arbeit besteht darin, einen Überblick über die Rechtslage der Besteuerung von Musikern zu schaffen. Die Tätigkeit eines Musikers ist sehr vielseitig. Musiker sind regelmäßig im In- und Ausland tätig, wechseln, oftmals sogar wöchentlich oder mitunter täglich, den Arbeitsort. Viele Musiker sind selbstständig tätig und gleichzeitig sind sie, da viele von ihnen in Orchestern spielen, Arbeitnehmer. Auf Grund dieser Tatsachen ist es schwierig, eine korrekte Steuererfassung zu ermöglichen, zumal stets die Gefahr besteht, dass die Steuerlast aufgrund des Nicht-wissens der relevanten Regelungen und ihrer Ausnahmen zu hoch ausfällt. Bei Tätigkeit als Künstler müssen demnach folgende Fragen Schritt für Schritt beantwortet werden: Wer gilt als Künstler? Was ist eine künstlerische Tätigkeit? Welche Steuerpflicht (beschränkt oder unbeschränkt) besteht bzw welche Einnahmen sind in Österreich steuerpflichtig? Besteht eine Steuerpflicht außerhalb Österreichs? Wie wird das für die Steuer relevante Einkommen ermittelt? Was sind Einnahmen? Welche Ausgaben können geltend gemacht werden? Welche Sonderregelungen sind anwendbar? Wie werden die Steuern erhoben? Wie stelle ich die Honorarnoten aus? Wie hoch ist die Umsatzsteuer für künstlerische Leistung in Österreich? Doch nicht nur die inländischen, vor allem auch die ausländischen Einkünfte müssen korrekt erfasst und auf mögliche Abzugssteuern geprüft werden, damit die Sachverhalte in Österreich richtig behandelt werden. Durch die Anwendung der jeweiligen DBAs sollte so auch die Doppelbesteuerung der Einkünfte vermieden werden. Zusammenfassend kann man festhalten, dass die Besteuerung von international tätigen Musikern ein komplexes Thema darstellt, welches das Know-how von gesetzlichen Bestimmungen, Verordnungen und Rechtsprechungen erfordert, um die Sachverhalte richtig steuerlich behandeln zu können. Ein Know-how, über das die wenigsten Künstler verfügen und welchen die nun vorliegende Arbeit hoffentlich als Leitfaden dient, um sich im Steuerdschungel ein wenig besser zurecht finden zu können. This paper addresses the topic of taxation of international musicians. The aim of this paper is to provide an overview of the legal framework concerning the taxation of musicians. The activities of musicians are highly diverse. Musicians regularly work both domestically and internationally, often changing their place of work on a weekly or even daily basis. Many musicians are self-employed, while also being employees due to their participation in orchestras. As a result, it is challenging to ensure accurate tax assessment, particularly considering the risk of an excessive tax burden resulting from a lack of knowledge about relevant regulations and their exceptions. When working as an artist, the following questions must be answered step by step: Who is considered an artist? What constitutes artistic activity? What tax liability (limited or unlimited) exists, and which income is subject to taxation in Austria? Is there a tax liability outside Austria? How is income relevant for taxation determined? What qualifies as income? Which expenses can be claimed? What special regulations apply? How are taxes collected? How do I issue invoices? What is the value-added tax rate for artistic services in Austria? Not only domestic income but also foreign income must be correctly documented and examined for possible withholding taxes to ensure proper treatment in Austria. The application of respective Double Taxation Agreements (DTAs) should help to avoid the double taxation of income. In summary, the taxation of internationally active musicians is a complex topic that requires expertise in statutory provisions, regulations, and case law to handle the tax matters correctly. This expertise is lacking among most artists, and it is hoped that this paper serves as a guide to help them navigate the tax jungle more effectively.

Aus der Aufgabe ein Museum mit der Anwendung des ECOLOPE Ansatzes zu entwerfen, hat sich eine Arbeit entwickelt, die die statischen Anforderungen eines Museums aufbricht und in Einklang bringt mit dem Ökosystem am Errichtungsort. Mit Fokussierung auf Prozesse, die unsere Umwelt und museale Institutionen formen, konnte ein Lösungsraum eröffnet werden in dem ein Entwurf entstand, der für beide Bereiche Vorteile bringt und eine wechselseitige konstruktive Einflussnahme ermöglicht. Die Theorie stellt den Forschungsansatz vor und gibt Einblicke in sein thematisches Umfeld, welches von bereits erprobten Ansätzen wie dem Animal Aided Design bis zur Cohabitation reicht und die Relevanz der gleichwertigen Berücksichtigung nicht-menschlicher Spezies verdeutlicht. Da sich der eröffnende Inter-Spezies Raum nur im Außenraum realisieren lässt, werden Beispiele für Ausstellungsformen und Kunstpraxen mit oder in der Natur vorgestellt. Diese stehen in Kontrast zur weißen Zelle und klassischen Museumsarchitekturen, die sich gegenwärtig mit wachsenden Herausforderungen konfrontiert sehen. Als mögliche Antwort wird das instabile Modell der European Kunsthalle vorgestellt und die ‚Keimzelle‘ als Plattform, für die sich entwickelnde Institution definiert. Mit Tim Ingolds Kritik an der statischen Sicht der Dinge wird der Lösungsraum der Prozessualität für eine museale Institution mit Interspezies-Architektur eröffnet und dient, zusammen mit der Analyse des Wienerbergs als Errichtungsort, als Grundlage für das Konzept. Die theoretischen Ausführungen fügen sich zu einem Anforderungskatalog.Für das Museum Metamorphosis wird das Erholungsgebiet Wienerberg als die Plattform definiert. Darauf aufbauend wird mit der Gebäudetypologie des Pavillons eine prozessuale Struktur realisiert, die das instabile Modell verkörpert. Die Materialien Totholz, Lehm und Stein stehen in wechselseitigem Austausch mit Fauna und Flora und bereichern die kuratorischen Möglichkeiten. Das Konzept ermöglicht den Einbezug nicht-menschlicher Spezies in bisher exklusiv anthropogene Bereiche und führt zur Steigerung biologischer Vielfalt. Der nicht statische Charakter von Architektur wird durch die Anwendung prozessfähiger Materialien betont und in der Konfrontation der Institution Museum mit einem veränderlichen Raum, ergeben sich neben der Herausforderung für die Kunst, neue Wege für ein gedeihliches Zusammensein von Menschen, Tieren, Pflanzen und Mikrobiota., From the objective of designing a museum using the ECOLOPE approach, a work has evolved that breaks down the static requirements of a museum and brings it into harmony with the ecosystem at the construction site. By focusing on processes that shape our environment and museum institutions, a solution space was opened in which a design emerged that benefits both areas and allows for mutual constructive influence. The theory introduces the ECOLOPE research approach and provides insights into its thematic backround, which ranges from already proven approaches such as Animal Aided Design to Cohabitation, highlighting the relevance of giving equal consideration to non-human species. Since the resulting inter-species space can only be realized in outdoor spaces, examples of exhibition forms and art practices with or in nature are presented and put in contrast with the white cube and classical museum architectures, which are currently facing growing challenges. As a possible reaction, the unstable model of the European Kunsthalle is presented and the ‚Keimzelle‘ is defined as a platform, for the developing future institution. Tim Ingold‘s critique of the static view of things opens up the solution space of processuality for a museum institution with interspecies architecture and, together with the analysis of the Wienerberg as the project site, serves as the basis for the concept. The theoretical explanations add up to a catalog of requirements. For the Museum Metamorphosis the recreational area Wienerberg is defined as the platform. Based on this, the building typology of the pavilion is defined and realizes a processual structure that embodies the unstable model. The materials deadwood, clay and stone are in mutual exchange with fauna and flora and enrich the curatorial possibilities. The concept allows the inclusion of non-human species in previously exclusively anthropogenic areas and leads to the enhancement of biological diversity. The non-static character of architecture is emphasized through the use of processable materials. By confronting the institution of the museum with a changeable space, new ways for a thriving coexistence of humans, animals, plants and microbiota emerge alongside the challenge for art.

Die vorliegende Arbeit beinhaltet als erstes einen Rückblick auf die frühen Holzbauten des Schweizer Architekturbüros Herzog und De Meuron. Anhand mehrerer Beispiele aus den 1980er Jahren werden unterschiedliche Ansätze gesammelt und verglichen. Herzog und de Meuron erkannten vielfältige Qualitäten im Baustoff Holz. Nicht nur als konstruktives Bauteil findet es Anwendung, sondern wegen seiner Optik und Oberfläche auch als Fassade. Das Material bekommt unterschiedliche Aufgaben. Bei genauerer Betrachtung stellt man einen Unterschied zwischen tragenden und getrage- nen Elemente fest.Diese Erkenntnisse wurden im darauf folgenden Schritt in einem Ent- wurf angewendet: einem freistehenden Kino im Garten einer bekannten Wiener Schauspielschule. Seit 1940 befindet sich das Max Reinhardt Seminar in einem Palais aus dem 18 Jh.. Der Neubau setzt sich mittig der Bestandsbäume und gliedert sich somit harmonisch in den Garten der Schule ein. Als nächstes wird die Bauaufgabe durch eine kurze historische Analyse der Wiener Kinokultur mit Schwerpunkt auf ihrer Architektur eingeleitet. Dar- über hinaus wird die Zukunft des Kinos thematisiert und was Architektur zu seiner Weiterentwicklung beitragen kann. Das Projekt soll einerseits eine räumliche Ergänzung für die Schauspiel und Schauspielregie Studenten sein, anderseits soll es für diverse öffentliche Vorstellungen zur Verfügung stehen.Ziel dieser Arbeit ist es einen zeitgenössischen Holzbau zu entwickeln, der neben der Nachhaltigkeit des Baumaterials auch auf eine Beständigkeit durch seine zurückhaltende Eingliederung im städtischen Gefüge zeigt., In view of the current and future climate development, sustainable solutions are increasingly coming into focus. Timber constructions make an important contribution to this. In recent years, wood has tended to be used more as a building material in many areas.The first part of this thesis is a review of the early wooden buildings by the Swiss architects Herzog and De Meuron. Different approaches are collected and compared using several examples from the 1980s. Herzog and de Meuron recognized the diverse qualities of wood as a building material. It is not only used as a constructive component, but also as a facade due to its appearance and surface. A closer look reveals that the material gets different tasks, there is a difference between load-bearing and supported elements.In the next step, these insights were applied in a design: a free-standing cinema in the garden of a well-known Viennese drama school. The Max Reinhardt Seminar has been located in a palace from the 18th century since 1940. The new building is located in the middle of existing trees and is thus integrated harmoniously into the school garden. The construction task is then introduced by a brief historical analysis of Viennese cinema culture with a focus on its architecture. In addition, the future of cinema is analyzed and what architecture can contribute to its further development. On the one hand, the project is intended to be a spatial addition for drama and directing students, on the other hand, it should be available for various public performances.The aim of this work is to develop a contemporary wooden building that, in addition to the sustainability of the building material, also shows durability through its reserved integration into the urban fabric.

Gesellschaftlicher Wandel treibt den Anstieg atypischer hybrider Erwerbsbiografien voran. Diese zeigen sich unter anderem im Verschwimmen der Grenzen von abhängiger Beschäftigung einerseits und selbstständigen Tätigkeiten andererseits. Künstlerisch Erwerbstätige sehen sich oftmals mit wechselnden Erwerbsverhältnissen konfrontiert und sind daher interessante Repräsentant*innen, wenn es um Erwerbshybridisierung geht. Tätigkeiten innerhalb der Kunst- und Kulturszene werden jedoch auch vermehrt von latenten Prekaritätsrisiken begleitet. Eine Verstärkung von bereits vorhandenen prekären Arbeits- und Lebensverhältnissen gab es im Zuge der Covid-19-Pandemie, als ein Arbeiten innerhalb des Liveveranstaltungsbereichs für einen gewissen Zeitraum unmöglich wurde. Die dabei entstandenen finanziellen Einbußen konnten mehr oder weniger gut durch die staatlichen Unterstützungsleistungen abgefedert werden. Die vorliegende Masterarbeit zielt darauf ab, die durch die Covid-19-Pandemie bedingten veränderten Arbeits- und Lebenslagen unter künstlerisch Erwerbstätigen im Liveveranstaltungsbereich aufzuzeigen, vorhandene Prekaritätsrisiken innerhalb dieser Personengruppe zu eruieren und deren Bewältigungsstrategien darzulegen. Neben einer umfassenden Literaturrecherche wurde ergänzend ein qualitatives Design gewählt, um die subjektiv erlebten Erfahrungen einfangen zu können. In diesem Zusammenhang wurden acht Leitfadeninterviews mit Erwerbstätigen aus dem Liveveranstaltungsbereich geführt. Es konnten pandemiebedingte Veränderungen ausgemacht werden, die sich vor allem in den geringeren Besucher*innenzahlen zeigten, von denen einzelne Künstler*innen direkt betroffen sind. Die erkennbaren prekären Risiken wurden unter den Befragten darin deutlich, dass das Einkommen nicht dauerhaft existenzsichernd ist, Planungen sehr großen Unsicherheiten unterliegen und die gesellschaftliche Anerkennung ambivalent ist. Wichtig für die Bewältigung dieser Risiken sind vor allem der Freiheitsgedanke und die sozialen Netzwerke. Insgesamt wird mehrfach ein Inkaufnehmen prekärer Verhältnisse zugunsten eines subjektiv erlebten Freiheitsgewinns deutlich, welcher sich einerseits in der flexiblen Gestaltung des Alltags und andererseits in der gelebten Selbstverwirklichung zeigt. Social change is driving the rise of atypical hybrid employment biographies. The boundaries between employment and self-employment are becoming indistinct. Especially people working in the arts are often confronted with changing employment relationships and are therefore interesting subjects concerning employment hybridization. However, working in the arts and culture sector is becoming increasingly precarious. The working and living conditions, already precarious, became even more so during the course of the Covid 19 pandemic, when working in the live event sector even became impossible for a while. The resulting financial losses were more or less cushioned by government support services. This master's thesis aims to show the changed working and living conditions for people working in the live event sector caused by the Covid 19 pandemic, elicit the risks of precariousness, and present their coping strategies. In addition to a comprehensive literature research, a qualitative design was chosen in order to show subjective experiences. Eight guided interviews were conducted with persons employed in the live event sector. Changes due to the pandemic could be identified. These are primarily shown in the lower number of visitors, which directly affects individual artists. It became clear from interviewees that their primary risks are that income is not permanently secure, planning is subject to great uncertainty, and social recognition is ambivalent. Above all, social networks and the feeling of freedom are important for coping with these risks. All in all, precarious conditions are accepted in exchange for a subjectively experienced gain of freedom, shown in the flexible organization of everyday life and in the self-fulfilment experienced. eingereicht von Stephanie Hamader Masterarbeit Universität Linz 2023

The article presents philosophical views on music in the context of the transformations of the worldview from Antiquity to the Modern Time. In this research author also mentions the contemporary issues, and uses her own philosophical concept of the music, which can be described as following: the value of music as a substance and the way of the valuable interaction of a person with the world affirm the essence of musical being, in which the invariable principle of Harmony, the principle of Chaos-Form movement, is preserved (see "The Value of the Music: Philosophical Aspect"). Music expresses the fluid essence of the world and changes of being in space and time. Philosophy of music as a field of philosophical knowledge considers music from ontological-epistemological and phenomenological-axiological prospectives, as something more than just a form of art. It explores the deep, ultimate foundations of the existence of music as such and the philosophical and aesthetic foundations of musical art. Since ancient times music has been a representation of the world in the human conscience and served as the harmonic equivalent of cosmological philosophy, mathematics, astronomy, and astrophysics (Pythagoras, Plato, Aristotle, Aristoxenus, Porphyry et als.). The scientific view on music was enriched in the Modern Time by the expanded view on the cosmo-sound space reflected in musical art, which at the same time transforms the mathematical ideas of geometricity, squareness etc. The tendency to create integral world music in the musical practice of the XX-XXI centuries explains the attempt of mankind to present music by modern methods of composing musical art as an expression of fear towards the secret Harmony of universal existence, and, on the other hand - as a form of search for salvation and mental balance, intuitively reflecting what is happening in natural science, which more and more points to the abyss of unknowable universe, and the unstable place of man in the world.

This article analyzes the views of representatives of the scientific community on ancient Chinese landscape painting, emphasis is mainly placed on views that concern the spiritual qualities of landscape painting, as well as rethinking concepts that ignore the significance of sensual perception. Landscape painting is usually considered as a spiritual work of Taoism: landscape painting developed from Taoist thought, Taoist philosophy determined the identity of the artistic style and the inherent spirit of landscape painting. Moreover, some researchers even believe that bodily contemplation of landscape painting means setting the very original nature of mountains and waters, and the "knowledge of the truth" is a spiritual process that is more blocked by the human capacity for sensual perception. Some of the scientists completely deny the possibility and truth of sensual perception of physical objects in landscape painting. The author of this article believes that the spiritual component of landscape painting lurks precisely in the value of sensual perception, and bodily contemplation of mountains and waters is impossible without the participation of the body, clear confirmation of which we find in the ancient Chinese theory of arts. Ancient Chinese works of art traditionally had a close connection with sensual perception through bodily contemplation. This process is not simply about capturing object information, but when the subject takes an active part in the vision of the object, when the subject gives feedback to the object, and through acquiring the object its meaning is transmitted. Only through bodily contemplation, the individual can fully feel the artistic value of landscape painting, and Taoist philosophy thus gains a real existence in landscape painting, becoming a kind of emotional thinking.

This essay explores the performance challenges of Beethoven’s “Diabelli Variations”; it is paired with the author’s own studio recording of the work coordinated with the musical score. The commentary seeks to address issues of compositional genesis, motivic development, musical character, and formal shaping, while keeping aesthetic matters in view. Beethoven’s transformations of Anton Diabelli’s waltz — which the composer described in a letter as a “SchusterFleck” (“cobbler’s patch”) — indulge in persiflage, irony, and parody, qualities that invite critical scrutiny. Beethoven was sometimes compared during his lifetime to Jean Paul, whose concept of humor as “the inverted sublime” and notion of a tensional duality of the Great and the Small applies well to Beethoven’s most paradoxical composition. How can we best shape this cycle as a whole in performance, while doing justice to its vivid contrasts and rich allusiveness? Numerous performance recommendations emerge from the integrated consideration of historical documents, musical analysis, and aesthetic reflection. Since the subject concerned here is animate rather than inanimate, it is not well grasped from just an objectivist, factual perspective. Dieser Beitrag untersucht die interpretatorischen Herausforderungen von Beethovens ›Diabelli-Variationen‹; er ist eng bezogen auf die mit der Partitur synchronisierte Studioaufnahme des Werkes durch den Verfasser. Der Kommentar behandelt Fragen der kompositorischen Entstehungsgeschichte, der motivischen Entwicklung, des musikalischen Charakters und der formalen Gestaltung des Zyklus, wobei asthetische Gesichtspunkte ebenso im Blick behalten werden. Beethovens Veranderungen des Walzers von Anton Diabelli – den der Komponist in einem Brief als ›SchusterFleck‹ bezeichnete – schwelgen in Persiflage, Ironie und Parodie, Qualitaten die einer kritischen Untersuchung bedurfen. Zu Lebzeiten wurde Beethoven manchmal mit Jean Paul verglichen, dessen Konzepte des Humors als ›umgekehrtes Erhabenes‹ und eines spannungsvollen Dualismus zwischen dem Grosen und dem Kleinen sich gut auf Beethovens paradoxeste Komposition anwenden lassen. Wie kann der Zyklus als ganzer in der Interpretation bestmoglich gestaltet werden unter Berucksichtigung der lebendigen Kontraste und seines Anspielungsreichtums? Zahlreiche Empfehlungen zur Interpretation ergeben sich aus einer integrierten Betrachtung historischer Quellen, musikalischer Analyse und asthetischer Reflexion. Insofern der betrachtete Gegenstand eher belebt als unbelebt ist, lasst er sich nicht aus einer blos objektivistischen, sachlichen Perspektive erfassen.

Der Beitrag bietet einen Uberblick uber die bislang wenig untersuchte Auffuhrungsgeschichte von Beethovens ›Diabelli-Variationen‹ im 19. Jahrhundert und korrigiert in Nuancen das von der Forschung gezeichnete Bild in Bezug auf Hans von Bulows Vorreiterrolle. Dabei werden auch die zentralen die Auffuhrungspraxis betreffenden rezeptionsgeschichtlichen Kategorien quellenbasiert vorgestellt. This article offers an overview of the performance history of Beethoven’s “Diabelli Variations” in the nineteenth century, a topic which has rarely been the focus of scholarly research. It adds new nuances to the picture drawn by previous scholarship with respect to Hans von Bulow’s pioneering role. In the process, the central categories of reception history are considered in relation to performance practice, based on contemporaneous sources.

Bucket-shaped pendants were broadly diffused in various cultural environments from the area comprised between the north-east of the Black Sea and Central Europe. This study attempts, without aiming at being exhaustive, to analyse the objects of this type within the Sarmatian environment. The author examines these pendants from the Sarmatian environment compared to that of other cultural settings, within a broader context and concludes that in the Sarmatian environment, bucket-shaped pendants come mainly from either richly and poorly furnished children and women graves. The author notes that earliest specimens of such pendants are found in the north-Pontic area and originate in features that date to the 2nd – 1st century BC, which suggests that their origin, beside other pendant types, lies in the north-Pontic region. In the 1st century BC, these pendants are present with the late Scythians and the Sarmatians from the north and north-west of the Black Sea, but also in the Geto-Dacian and Germanic milieu (the Poieneşti-Lucășeuca culture). Once with the 1st century AD, the number of the bucket-shaped pendants increases significantly in the late Scythian, Sarmatian, Geto-Dacian environments but also in the cemeteries of the towns and settlements from the north-Pontic area. Still in this period, they start to be recorded in the Przeworsk culture area, as well. Subsequent to the analysis of bucket-shaped pendant finds from the Sarmatian environment, it was concluded they were not extensively used by the Sarmatians, like in the case of other pendant types. The author notes that the majority of bucket-shaped pendants from the Sarmatian environment of the north and north-west Pontic area come from graves dating to the chronological interval comprised between mid 1st century AD – early/first decades of the 2nd century AD. Furthermore, these artefacts are rare in second half of the 2nd century – first half of the 3rd century AD Sarmatian graves and are missing from the second stage of the late Sarmatian period (the second half of the 3rd century – 4th century AD). Following the analysis of the Sarmatian funerary features of the Great Hungarian Plain in which bucket-shaped pendants were discovered, it is concluded that the custom of wearing such pendants by women and children was carried to this area in the second half of the 1st century AD by the first groups of Sarmatians that settled the region. Last but not least, it was noted that in the Sarmatian environment of this geographical area these artefacts were used, to a more or less extent, on the entire duration of their inhabitancy of this area. In the end it is concluded that the massive use of bucket-shaped pendants in the 2nd – 4th century AD in various cultural environments of the area comprised between the north of the Black Sea and Central Europe evidences they became “supranational” artefacts, being produced and used by different populations from this geographical area

The use of punctuation in German incunabula is often described as arbitrary, irregular, and unsystematic (cf. Masalon 2014: 54–56). This concerns the inventory, frequency, and function of punctuation marks as well as pragmatic aspects such as how typesetters treated punctuation in their respective target texts. In this paper, punctuation is not seen as an independent linguistic subsystem, but as a means of text segmentation that – along with other measures (e. g. capital letters, pilcrows, and white space) – was used to structure a text with respect to its formal appearance, helping the reader to decode information. This case study is based on a corpus of German pamphlets written by the Bohemian astrologer Wenzel Faber and printed annually beginning in 1481 at various print shops, principally in Leipzig and Nuremberg. The analysis finds significant changes in the editions before and after 1490. These changes include an increasing consistency in the intensity of text segmentation, and a use of capital letters and punctuation marks developed from a polyfunctional to a monofunctional approach. Finally, different types of text segmentation are proposed, each characterized by a specific relationship between its frequency and its function. Despite this overall tendency, one must still take into account that typesetters followed individual punctuation practices in their search for suitable forms of text segmentation.

Ausgangspunkt des Beitrags ist ein doppelter: einerseits eine Erorterung der Frage des Zyklischen und Anti-Zyklischen und des Konfliktverhaltnisses von Totalitat und Fragment im Sinne von Hegel und Novalis, andererseits eine Uberlegung zur ›Stimmschrift‹ bei Novalis, demzufolge jedes Notat von Beethoven, wie die Skizzen und der fertiggestellte Partiturtext der ›Diabelli-Variationen‹ op. 120, immer Schrift sind und zugleich die Stimme des Autors verraten, womit Skripturalitat und Oralitat in eins gehen. Es geht also aus der Schrift ein oral-mimetischer Vorgang hervor, der als Subtext den gedruckten Text begleitet. Vergleichsweise wird dies auch bestimmend fur die aus der performativen Praxis von Eduard Steuermann hervorgegangenen Eintragungen in seinem Handexemplar der ›Diabelli-Variationen‹ und seinen analytischen Notizen zu diesem Werk, aus denen auch Konsequenzen fur seine klingende Interpretation gezogen werden. Fur Steuermann ist die Zeitproportion zwischen den einzelnen Variationen und dem raschen Walzerthema sowie zwischen den einzelnen Variationen zentral, und er sucht dabei einen weitgehend durchgehenden Puls, wie er auch fur die Ausgabe des op. 120 von Artur Schnabel und fur dessen Einspielung masgeblich war. Schlieslich wurde die proportionale Verkurzung der 16 Takte des Walzers auf acht bzw. vier Takte gerade in den Schluss-Variationen fur Steuermann von hochster Bedeutung, weil sie eine intrinsische Beschleunigung zur Folge haben. The starting point of this article is twofold. On the one hand, regarding the question of the cyclical and the anti-cyclical, the discussion explores the conflicting relationship between totality and fragment in the manner of Hegel and Novalis. On the other hand, it applies the concept of “voice writing” (Stimmschrift) in Novalis, according to which every notation by Beethoven, such as the sketches and the completed score of the “Diabelli Variations” Op. 120, are always writing and at the same time betraying the author’s voice, which means that scripturality and orality go hand in hand. An oral-mimetic process emerges from the writing, which accompanies the printed text as a subtext. In comparison, this is also decisive for the annotations in Eduard Steuermann’s handwritten copy of the “Diabelli Variations,” resulting from his performative practice, and his analytical notes on this work, from which one may draw implications for ahis interpretation in performance. For Steuermann, the proportion of time between the individual variations and the rapid waltz theme as well as between the individual variations is of central importance; in his reading, he looks for a largely continuous pulse, a concept which was also decisive for Artur Schnabel’s edition and recording of Op. 120. Finally, the proportional shortening of the sixteen measures of the waltz to eight or four measures, especially in the final variations, became extremely important for Steuermann, because they result in an intrinsic acceleration.

The tomb inscription TL 150 is terminated by a sacrifice formula. The addressee of the sacrifice seems to be the tomb builder itself, but ‚to sacrifice yearly‘ is probably dependent from zasãni, which should be a finite verb with the tomb builder as the indirect object. Xadrñna designates perhaps, what has to be sacrificed, but it may be instead a designation of the responsible person or even of the recipient(s) of the sacrifice. In each case the recipient(s) will be divine, as in TL 149 and 84, not the dead itself, as probably later in Greek inscriptions too., TL 150 numaralı mezar yazıtı bir kurban formülü ile sonlanmaktadır. Bu kurban işleminin muhatabı mezarı inşaa ettiren kişi olarak gözükmektedir. Ancak “yıllık olarak kurban etmek” ifadesi olasılıkla mezarı inşa ettiren kişinin dolaysız nesnesi olduğu çekimli bir fiil olan zasãni’den bağımsızdır. Xadrñna belki de kurban edilmesi gereken şeyi tanımlamaktadır. Fakat bunun yerine kurbandan sorumlu olacak kişiyi ya da dahası kurbanın sunulduğu kişiyi/kişileri de tanımlıyor olabilir. Her koşulda, kurbanın sunulduğu merci(ler), büyük olasılıkla daha sonraki dönemlerdeki Yunanca yazıtlarda olduğu gibi ölenin kendisi değil, TL 149 ve TL 84 numaralı yazıtlarda görüldüğü gibi tanrılar olacaktır.

Die umfangreichen vom Forschungsprojekt PETAL (Performing, Experiencing and Theorizing Augmented Listening, Graz 2017–20) vorgelegten Messdaten sowie die darauf basierenden Untersuchungen zeichnen ein differenziertes Bild von Interpretationsstrategien in Aufnahmen und Auffuhrungen der Winterreise von Franz Schubert, insbesondere was die Tempowahl betrifft. Tempi und andere Interpretationsentscheidungen haben einerseits konzeptionelle Grundlagen – sowohl in rein musikalischer als auch in ›theatral‹-narrativer Hinsicht – und unterliegen andererseits vielfachen praktisch-physiologischen Bedingtheiten, die vom kunstlerischen Profil und der Tagesverfassung der Interpret*innen bis hin zur Raum- und Instrumentenwahl reichen. Im Falle der Winterreise kann der interpretatorische Fokus zwischen Einzellied und Gesamtzyklus oszillieren, und so kann eine weitere Trennlinie gezogen werden zwischen bedingenden Faktoren, die sich auf einzelne Lieder, und solchen, die sich auf den Zyklus als ganzen auswirken. Der vorliegende Aufsatz setzt diese praktischen Erwagungen in Relation zu den Forschungsergebnissen von PETAL und stellt am Ende die Frage, ob es so etwas wie ein ›subjektives Tempo‹ gibt. The substantial measuring data presented by the PETAL research project (Performing, Experiencing and Theorizing Augmented Listening, Graz, 2017–20), as well as studies based on them, draw a varied picture of performance strategies in recordings and performances of Franz Schubert’s Winterreise – especially concerning the choice of tempo. On the one hand, tempi and other interpretative choices are based on conceptional considerations – either purely musical or related to a “theatrical” narration. On the other hand, they are shaped by practical and physiological circumstances ranging from the artistic profile of the performers and their condition on the day of performance to the choice of venue and instrument. In the case of Winterreise, the performers’ focus may oscillate between the single song and the cycle as a whole; consequently, an additional dividing line can be drawn between determining factors affecting particular songs and those that have an impact on the entire cycle. The present article puts practice-related considerations in context of the research findings by PETAL and concludes by posing the question if there is such a thing as a “subjective tempo.”

Schubert Winterreise war bis in die 1980er Jahre hinein eine Domane tiefer Mannerstimmen. Nach vereinzelten Vorlaufern wie Peter Anders oder Peter Pears wurde der Zyklus erst seit Mitte der 1980er Jahre haufiger von Tenoren gesungen und aufgenommen. Parallel zur wachsenden Prasenz von Tenoren vollzog sich ein weiterer Paradigmenwechsel, indem zunehmend auch Sangerinnen wie Christa Ludwig oder Brigitte Fassbaender die Winterreise interpretierten. Sie konnten sich einerseits auf das Vorbild groser Liedsangerinnen der ersten Halfte des 20. Jahrhunderts wie Elena Gerhardt und vor allem Lotte Lehmann berufen und andererseits darauf verweisen, dass es in der Winterreise um grundlegende, nicht geschlechtsgebundene menschliche Erfahrungen geht. Von Mannern gesungen bewegt sich die Singstimme in der Winterreise uber weite Strecken in einem Tonraum unterhalb der Oberstimme des Klavierparts. Frauenstimmen hingegen singen in der notierten Oktavlage und damit entweder auf einer Ebene mit oder oberhalb der Klavierstimme, d. h. die Klangrelation zwischen Stimme und Klavier ist eine andere als in Interpretationen von Mannerstimmen. An einigen Stellen entstehen durch nach unten oktavierte Ausfuhrung der mannlichen Gesangsstimme irregulare Quartsextakkorde, die zwar aufgrund von wahrnehmungspsychologischen Phanomenen nicht als solche gehort werden, aber dennoch eine Ambiguitat von Notation und Klang erzeugen. Diese Ambiguitat entfallt bei der Ausfuhrung in der notierten Oktavlage, die zugleich andere Beziehungen zwischen Stimm- und Klavierklang hervortreten lasst. Until the 1980s, Schubert’s Winterreise was usually sung by low male voices. Despite sporadic precursors such as Peter Anders or Peter Pears, the cycle had not been sung and recorded frequently by tenors before the mid-1980s. Contemporaneous to tenors’ growing interest, another paradigm change was initiated by female singers such as Christa Ludwig or Brigitte Fassbaender performing Winterreise. In doing so, they were able to rely, on the one hand, on the example of great female lieder singers of the first half of the twentieth century such as Elena Gerhardt and especially Lotte Lehmann; on the other, they were able to point out that Winterreise deals with basic human insights which are not gender-specific. Sung by male singers, the singing voice in Winterreise is predominantly positioned in a space below the upper voice of the piano part. Female voices, on the contrary, sing in the notated octave register, thus in the same register as the piano part or above it: the sound relation between voice and piano differs from performances by male voices. In some instances, an octave-transposed rendition of the male singing voice results in irregular 6/4-chords. Although the irregularity of these chords is not perceived due to psychological phenomena, they produce an ambiguity of notation and sound. This ambiguity is absent in performances that conform to the notated octave register, thus exhibiting different relations between the sounds of the voice and piano.

Der Beitrag analysiert Aspekte der Tempogestaltung in Einspielungen von Franz Schuberts Liederzyklus Winterreise. Im Zentrum der Untersuchung steht die Vorstellung, dass Interpret*innen durch die Wahl ahnlicher Tempi gegebenenfalls entlegene Stellen eines zyklischen Verlaufs miteinander verknupfen und auf diese Weise zur zyklischen Wirkung der Gesamtform beitragen konnen. Dieses hypothetische Musizierverhalten wird als Strategie performativer Formgebung verstanden. Die Untersuchung geht davon aus, dass diese Strategie im Fall von Tempo-Taktart-Korrespondenzen besonders naheliegt, also dann, wenn zwei Lieder eines Zyklus durch dieselbe Tempovorzeichnung und dieselbe Taktart gekennzeichnet sind. Insgesamt werden Interpretationsanalysen zu acht solchen Liedpaaren aus der Winterreise vorgelegt, und zwar auf der Basis von Tempomessungen von 64 Gesamteinspielungen des Zyklus. Die Analyseergebnisse legen nahe, dass die performative Umsetzung von Tempo-Taktart-Korrespondenzen fur die diskographisch dokumentierte Interpretationsgeschichte des Werks eine gewisse Rolle spielt: In 20,3 % der untersuchten Aufnahmen lasst sich die genannte Strategie fur mehr als die Halfte der acht Liedpaare belegen. Die Analysen liefern Hinweise darauf, dass einige Interpret*innen starker fur diese Strategie disponiert sind als andere. This article analyzes aspects of tempo design in recordings of Franz Schubert’s lieder cycle Winterreise. This study is based on the idea that performers can link remote parts of a cyclical structure through their choice of similar tempi and, by doing so, can make a contribution to the cyclical impact of the form as a whole. This hypothetical decision by performers is interpreted as a strategy of shaping the form of the work in performance. The study starts with the assumption that this strategy is particularly obvious in cases of lieder sharing the same tempo indication and time signature within a cycle. The article presents performance analyses of eight such lieder pairs from Winterreise, based on tempo measurements of sixty-four complete recordings of this cycle. The analytical results suggest that the realization of tempo-time signature correspondence in performance is of some importance for the work’s performance history (as far as it is documented on recordings): in 20.3% of the examined recordings, the strategy can be verified for more than half of the eight lieder pairs. The analyses indicate that some performers are more inclined to this strategy than others.

We present a previously-unknown sarcophagus of the Roman period with a fragmentary and hard-to-decipher inscription in Greek, today exhibited in the grounds of the Archaeological and Ethnographic Museum of Elazığ in eastern Turkey. A personal name can still be deciphered on the front face of the sarcophagus: Menethymes. Elazığ Museum possesses a large collection of archaeological artefacts, especially from the rescue excavations at the höyük (tell or mound) sites in the area of the Keban dam construction in the 1960s and 1970s. The number of Roman artefacts in this museum is c. 100, excluding numismatic finds. This brief paper makes a contribution to the scanty knowledge of Roman-era funerary monuments in eastern Turkey. In the appendix, we also give the text of one of the most important finds at the same museum, a Latin military inscription from AD 64/65 on Gnaeus Domitius Corbula and the Parthian war.

Ursprunglich als Lecture Recital mit klanglichen Demonstrationen geplant, stehen die Erfahrungen des Autors mit den uberlieferten absoluten und relativen Tempoangaben des 17. und 18. Jahrhunderts (besonders nach Michel L’Affilard, Raoul-Auger Feuillet und Louis-Leon Pajot, aber auch nach Johann Joachim Quantz und Johann Philipp Kirnberger) und ihre Ubertragbarkeit auf ausgewahlte Variationen aus Johann Sebastian Bachs ›Goldberg-Variationen‹ BWV 988 im Mittelpunkt des Aufsatzes. Dabei werden in erster Linie die leicht einem Tanztypus zuzuordnenden Variationen ausgewahlt, da diese am ehesten ihre Entsprechungen in den genannten Tempoangaben finden konnen. Daneben werden von Majid Motavasseli erhobene Tempomittelwerte von 76 Aufnahmen von Bachs Zyklus’ hinzugezogen und mit den historischen Angaben und den Tempi des Autors verglichen. Es wird zudem uber die Erfahrungen mit dem Nachbau eines Pendels nach Etienne Loulie (1696) und dessen Auswirkungen auf das Spielen und Uben berichtet. Originally planned as a lecture recital with musical demonstrations, this article focuses on the author’s experience with the traditional absolute and relative tempo indications of the seventeenth and eighteenth centuries (especially those given by Michel L’Affilard, Raoul-Auger Feuillet, and Louis-Leon Pajot, but also those given by Johann Joachim Quantz and Johann Philipp Kirnberger) and their transferability to selected variations from Johann Sebastian Bach’s “Goldberg Variations,” BWV 988. The variations that can be easily assigned to a dance type are primarily selected, as these clearly correspond to the tempo indications mentioned. In addition mean tempo values collected by Majid Motavasseli from seventy-six recordings of Bach’s cycle are compared with historical information and the author’s tempi. The article also reports on experiences with the replica of a pendulum of Etienne Loulie (1696) and its effects on playing and practicing.

Die Kunstphilosophie ist in Bewegung und erlebt nicht zuletzt im deutschsprachigen Kontext eine dynamische Weiterentwicklung. Über die Fachgrenzen der philosophischen Ästhetik hinaus wirken diese Debatten hinein in die politische Philosophie, die Kunst- und Kulturwissenschaft, aber auch in die Theater-, Medien- und Musikwissenschaft. Zugleich partizipieren sie an den kunstnahen Diskursen im Umfeld verschiedener künstlerischer Praktiken. Sie bringen so den Gestus der Selbstreflexion und Selbstverständigung in den universitären Disziplinen wieder zur Geltung. Das "Handbuch Kunstphilosophie" bildet anhand systematischer Stichworte Grundpositionen kunstphilosophischen Denkens ab. Es wirft Schlaglichter auf die Theoriegeschichte sowie auf aktuelle Positionen, ohne sie einer Schulenbildung zu unterwerfen., + ID: 592659

Die Transformation von Wissen und Forschung der Geisteswissenschaften in den digitalen Raum ist im Arbeitsalltag bereits weit fortgeschritten. Mit dieser Transformation, die sich als eine rasante technische Revolution vollzieht, entwickelt sich nicht zuletzt eine neue digitale Wissensordnung. Unsere Ordnungssysteme reichen kulturell viele Jahrhunderte, bis weit in das Mittelalter und die Antike zurück. Die Ordnung des Wissens ist fundamental, denn erst Ordnung macht Wissen zu Wissen, indem sie Wissenswertes von Nicht-Wissenswertem trennt. Wissensordnungen sind immer hierarchisierend, weshalb man zu jeder Zeit intensiv um die Ordnung des Wissens gerungen hat. Sie muss sich mit neuen Bildungssystemen ebenso wandeln, wie sie sich durch neu erschlossene Wissensbereiche, neue soziale Gruppen oder neue Anforderungen innerhalb der Gesellschaft verändert. In dem Beitrag geht es um methodische Ansätze zur Erforschung vormoderner Buchsammlungen als haptisch erfahrbare Wissensräume und den damit verbundenen langfristigen Dynamiken, die es erlauben, die fundamentalen Unterschiede zwischen der analogen und der digitalen Umgebung neu zu reflektieren. The transformation of knowledge and research in the humanities into the digital space is already well advanced in everyday work. With this transformation, which is taking place as a revolutionary technical revolution, at the same time a new digital knowledge order is developing successively. Culturally, our systems of the ordering of knowledge goes back many centuries, far into the Middle Ages and Antiquity. The ordering is fundamental, because only order turns knowledge into knowledge by separating what is worth knowing from what is not. Knowledge orderings are always hierarchizing, which is why they continuously and intensively have been challenged in all times. The ordering of knowledge has to change with new educational systems, new social groups and just as it changes with newly opened fields of knowledge or new demands within society. This article deals with methodological approaches in reassessing pre-modern religious institutions and book collections as specific knowledge spaces, in order to reflect the long term dynamics and the fundamental differences between the analog and the digital knowledge environment.

Das Aufkommen einer Buchkultur und die Gründung großer Bibliotheken waren seit dem 3. Jh. v.Chr entscheidend für die Etablierung einer literarischen Tradition. Ihr begegnet die römische Kultur seit dem 2. Jh. v.Chr. in Gestalt von Büchern und Bibliotheken. Dies hat nicht nur in Rom Vorstellungen von der Arbeitsweise eines Autors und den Lektüreerfahrungen von Lesern entscheident geprägt, sondern bleibt wichtig für das Verständnis dafür, was Literatur ist. The emergence of a literate culture and the foundation of libraries since the 3rd century BCE played a prominent part in establishing a literary tradition. This tradition entered Roman culture in the form of books and libraries. This had repercussions for Roman ideas about authors and readers; they remain important for our own expectations about literature.

1937 hatte Zeitlin Bookshop seinen Standort in Downtown Los Angeles, der 614 West Sixth Street: »This small realm of the booksellers that was concentrated on Sixth Street, with fingers into the surrounding blocks, was the cultural center of Los Angeles in the twenties and thirties«, wie es ein Freund Zeitlins schrieb. Später rief er selbst die Räume von West Sixth Street 614 folgendermaßen in E...

Im Mai 1937 schrieb Käthe Kollwitz, die sich isoliert in Berlin fand, an eine Freundin: »Es ist mir natürlich eine große Freude, daß in Amerika sich Terrain zu ergeben scheint für meine Arbeit.« Kollwitz muss sich auf eine Ausstellung beziehen, die im Frühjahr 1937 in der Hudson Walker Gallery in New York stattfand und viel beachtet und gut rezensiert wurde. Die Druckgrafiken und Handzeichnungen dieser Schau reisten weiter nach Los Angeles, wo sie Jake Zeitlin in Partnerschaft mit der Hollywo...

Als sich George Antheil im Juni 1937 an das Publikum der Kollwitz-Ausstellung wandte, hatte er noch nicht einmal ein Jahr in Hollywood gelebt. In seiner Rede sprach er über die dramatischen Wandlungen, die Berlin in der ersten Hälfte des 20. Jahrhunderts durchgemacht hatte, und über die turbulente Geschichte Europas, wobei er auch über sein eigenes Leben in der deutschen Hauptstadt reflektierte. Als Sohn deutscher Immigranten wuchs George Antheil (1900−1959) zweisprachig in Trenton, New Jerse...

In seiner Ansprache zur Eröffnung der Kollwitz-Ausstellung hob Toller hervor, dass »Käthe Kollwitz’ Kunst eine Kunst ist, die im Mitleid gründet [›motivated by pity‹], eine soziale Kunst, eine revolutionäre Kunst.« Indem er Kollwitz’ Kunst auf seine eigenen politischen Überzeugungen und sein literarisches Werk ausrichtet, verbindet Toller nicht nur ihr Werk, sondern auch das philosophisch-polit...

Im Juni 1937 eröffnete Jacob Zeitlin in seiner Buchladen-Galerie in Los Angeles eine Ausstellung mit Grafiken von Käthe Kollwitz. Es war die erste Ausstellung von Kollwitz’ Werk in Südkalifornien. Co-Sponsor der Ausstellung und der glamourösen Vernissage war die Hollywood Anti-Nazi League for the Defense of American Democracy. Die Redner des Abends waren der deutsche Schriftsteller und Aktivist Ernst Toller und der amerikanische Komponist George Antheil. Zu den illustren Gästen gehörten Fritz Lang, Richard Neutra, Arnold Schönberg, George Gershwin, Kurt Weill und andere Berühmtheiten der Filmindustrie und der deutschösterreichischen Exilgemeinde. Die Kollwitz-Ausstellung wurde zum Dreh- und Angelpunkt der zentralen Konfliktfelder der Stadt: Sie war nicht bloß ein kulturelles Ereignis in Zeitlins Buchladen-Galerie, sondern vor allem eine gezielte politische Aktion der Hollywood Anti-Nazi League. Kollwitz’ Schaffen geriet damit ins Kreuzfeuer der Auseinandersetzungen zwischen dem antifaschistischen Kampf der Anti-Nazi League und den gewalttätigen Aktionen nationalsozialistischer Gruppen in Los Angeles. In diesem politischen Spannungsfeld wurde Käthe Kollwitz als »anti-Nazi artist« wahrgenommen und ihrer Ausstellung eine aktive Rolle im Kampf gegen Hitler zugeschrieben. Die Kapitel des Buches zeichnen nach, wie die Ausstellung zum Kreuzungspunkt von vier Biografien wurde: Käthe Kollwitz, Jacob Zeitlin, Ernst Toller und George Antheil. En juin 1937, Jacob Zeitlin inaugure une exposition d’œuvres graphiques de Käthe Kollwitz dans la galerie de sa librairie à Los Angeles. Il s’agissait de la première exposition du travail de Käthe Kollwitz en Californie du Sud. La Hollywood Anti-Nazi League for the Defense of American Democracy était co-sponsor de l’exposition et du vernissage, une soirée glamour qui vit se succéder l’écrivain et activiste allemand Ernst Toller et le compositeur américain George Antheil comme intervenants. Parmi les invités illustres, on peut citer Fritz Lang, Richard Neutra, Arnold Schönberg, George Gershwin, Kurt Weill et d’autres célébrités de l’industrie du cinéma et de la communauté d’exilés austro-allemands. L’exposition Kollwitz devint la pierre angulaire des grands champs conflictuels de la ville : bien plus qu’un simple événement culturel de la galerie-librairie de Zeitlin, elle faisait figure d’action politique ciblée de la Hollywood Anti-Nazi League. L’œuvre de Kollwitz se retrouva ainsi sous le feu croisé de la confrontation entre le combat antifasciste de la ligue et les actions violentes de groupes nazis à Los Angeles. Dans ce contexte de tensions politiques, Käthe Kollwitz fut perçue comme une artiste anti-nazi et son exposition se vit attribuer un rôle actif dans la lutte contre Hitler. Les différents chapitres de ce livre montrent comment cet événement en vint à être le carrefour de quatre itinéraires de vie : celui de Käthe Kollwitz, de Jacob Zeitlin, d’Ernst Toller et de George Antheil.

Dieselbe Ausgabe der News of the World, in der Tollers Rede auf der Vernissage der Kollwitz-Ausstellung abgedruckt war, brachte auch eine Notiz, die auf den »hervorragenden Erfolg« und die Anzahl der »Hollywood-Persönlichkeiten« wies, die an dem Ereignis teilnahmen. Aber die League betonte einen Hauptpunkt im abschließenden Satz: »In honoring a figure like Kollwitz the League is simply following its policy of pointing out that the better, and bigger, part of Germany is not and will not be Naz...

This article is devoted to the study of such a separate historical and literary genre as the chronicle praise of the ruler. During the XI-XVI centuries, chronicle praise was a very common technique of medieval scribes. Comparing the praises of different Russian Chronicles and different historical periods, the author proves that the chronicle praise of the ruler grew out of a brief posthumous description of him, reflected the chronicler's good knowledge, his likes and dislikes, and in the XII century acquired a ready – made form-a literary form. Early praises (XI-XIII centuries) correctly reflected historical reality, contained individual traits of the ruler, changed depending on historical conditions, which increases their value as a historical source. It was also found out that there were two main forms of praise – southern and northern. The difference between them is that southern praise was secular, while northern praise was ecclesiastical; southern praise was limited to local interests, and northern praise had a world – historical scale. In general, praise can be considered as a separate chronicle of the medieval genre, characterized by special plot and stylistic features.

Karaca Ahmet Sultan Türbesi, Uşak İli Ulubey İlçesi Karaca Ahmet Köyü’ndedir. Türbe, Gözcü Karaca Ahmet olarak da bilinen, Anadolu pirlerinden Karaca Ahmet Sultan’ın makam türbelerinden biridir. Altıgen planlı türbe, sekizgen kasnaklı bir kubbe ile örtülüdür. Türbenin giriş kapısı üzerinde bir hayat ağacının iki yanına ayna usulü simetrik olarak yerleştirilmiş iki tavus kuşu figürü işlenmiştir. Antik çağdan günümüze kadar olan süreçte, pek çok kültürde, kuş, simgesel bir figürdür. Bazen öleni öteki dünyaya taşımış, bazen ona eşlik etmiş ya da ölenin ruhu kuşa dönüşmüştür. ruhu kuşa dönüşmüştür. Kuş figürü edebiyat başta olmak üzere çeşitli sanat dallarının bezeme repertuarında sevilerek kullanılan bir motif olmuştur. Bu çalışmada Karaca Ahmet Sultan Türbesi’nde yer alan tavus kuşu motifi ele alınarak, Türk kültüründeki ve ikonografisindeki yeri değerlendirilmekte; söz konusu motifin köken ve ikonografik anlamı üzerinde durulmaktadır. Avrasya hayvan üslubunda şaman ve astrolojik sembollere dayanan insan veya hayvan figürlü sanatlar yüzyıllardan bu yana varlığını sürdüre gelmiş olup, Anadolu’nun farklı bölgelerinde karşımıza çıkmaktadır. Bu geleneğe bağlı figürlü örnekler sivil mimaride çok sayıda görülürken, dini mimaride nadiren ama anlamlı bir şekilde karşımıza çıkarlar. Türbe, ayrıca Karaca Ahmet’in şifacı kimliğine-hekimliğine ithafen çeşitli ritüellerin gerçekleştirildiği bir ziyaret merkezidir. Türbede gerçekleştirilen dedeye bağlanma uygulamalarının, taşıdığı unsurlar sebebiyle İslam öncesi Orta Asya Türk inançlarına dayandığı görülmektedir. Türbeye yapılan ziyaret ve çocuk sahibi olma konusunda beklenen yardım, bu uygulama ve inanışın atalar kültünün bir devamı olduğunu göstermektedir. Ayrıca gerçekleştirilen işlemler sırasında karşımıza çıkan el taşı, tomruk, sandukanın üzerinden alınan tülbent, dilek taşı gibi nesnelerin benzer kullanımları, İslam öncesi Türk uygulamalarında da görülmektedir. Türbede gerçekleştirilen uygulamalar sırasında okunan sure ve dualar ile kılınan namaz, geleneksel Türk dini ve İslam öncesi Türk inanışlarına dayalı uygulamalara, İslami bir karakter kazandırıldığını ve bu şekilde uygulamaların günümüze kadar devam ettirildiğini göstermektedir. Türbedeki bu liturjik objeler ve tavus kuşu motifi hem Karaca Ahmet’in görsel yadigarları hem de iyileştirici ve koruyucu özelliğe sahip güçlü araçlar olarak işlev görmektedir. Bu özellikleriyle de gerek psikosomatik gerek Batıni düzeyde, türbeyi ziyaret eden kişinin manevi gelişimine katkıda bulunuyor ve kutsalın alanıyla temas kurma arzusuna da yardımcı oluyordu. Anahtar Kelimeler: Uşak, Türbe, Karaca Ahmet Sultan, Tavus Kuşu, Bezeme.

Resumen Hay muchos retratos de Spinoza, pero ninguno de ellos está bien documentado, al menos suficientemente documentado como para satisfacer las exigencias del método iconográfico. Por falta de argumentos objetivos que permitan identificar a Spinoza entre tantos cuadros y grabados, tal vez podamos considerar que el “verdadero” retrato de Spinoza es el frontispicio de las Opera posthuma de 1677. Abstract Although there are many portraits of Spinoza, none is well documented, or at least sufficiently documented to satisfy the requirements of the iconographic method. Due to the lack of objective arguments that could allow us to identify Spinoza among so many paintings and etchings, we might perhaps consider that the “real” portrait of Spinoza is found on the frontispiece of 1677´s Opera posthuma.

In addition to the rhetoricians and orators who at Athens supported or opposed Philip, a number of playwrights – such as Ephippus and Alexis – did not hesitate to express their opinions of the Macedonian king. Some fragments of their works, however, seem to show conflicting positions, for if Ephippus supported the anti-Macedonian party, Alexis, while including Philip in some comedies, did not blame the king by turning him into a comic mask, but praised his political decisions and his respect for religion and traditions.

In the literary and theatrical critique of his time (second half of the 20th century), Miodrag Žalica was recognized as a representative of symbolist poetics in Bosnian-Herzegovinian drama. The features of Žalica’s dramatic symbolism have, however, rarely been observed through analyzing the technique of his dramatic works in concreto. The Piece Mirišu li jorgovani u Njujorku, written in 1988, certainly represents the culmination of Žalica’s poetics, and is, in that sense, suitable for an analysis of the symbolic network as a specific trademark of his authorship with regards to the poetics of symbolism in European modern drama at the turn of the 19th to 20th century.

„When I went to Sarajevo, I met a boy“, Pippo Delbono tells us. They talked, and suddenly the boy told him, „I saw an entire city in anger. I’ve seen people become monsters“. And Delbono replied, „And I’ve seen people look at me like I’m a monster. And all the things that turn into monstrosity“. Traveling, for Delbono, is a life experience that turns into a theatrical one at the same time. In 1998, Delbono created a play called War. The story of the boy he meets during his trip to Sarajevo is an introduction to Delbono’s magical world of theater through which he expresses the need to present a life that is born from suffering, illness, war, but in which we still „dancing“. Danzare nella guerra, „dancing in the war“, for Delbono means to oppose the war to the beauty, joy, and poetics of the movement. In 1995, Strehler directed a play called Mother Courage of Sarajevo based on the text written by Bertolt Brecht. For Strehler, Mother Courage of Sarajevo is not just a play, it is a symbol, a political act that portrays war as a human failure. Strehler based his vision of theater on Brecht’s epic theater. One year before, in 1993, with his puppet troupe, The Bread and Puppet, Peter Schumann came to Sarajevo to provide his support. In the first place, we want to show how Delbono’s conception of theater and experience during his trip to Sarajevo intertwine with the primary goal of Sarajevo theater in those years, as „spiritual resistance“, „spiritual needs“, „call to heal wounded souls“, a „super theater“, as Izudin Bajrović calls him, in which theater and life were the same. Through Strehler’s theater, his relationship with Sarajevo, and the breaking of the „fourth wall“, we will talk about theater as research of those eternal human values, but also returning to humane theater. In the third place, through Schumann’s work, we will show how the external theatrical reality intertwines with the internal one as a feature of strong political engagement.

The beginning of the twentieth century was strongly marked by the First World War. Among the unexpected results of this conflagration we can observe an exponential growth of cultural relations between the states involved in the conflict on the same side. If we explicitly look at the Romanian-French cultural relations from this perspective, it becomes obvious that we are dealing with an exceptional example of cultural collaboration on the European continent. The first concrete step of this process was the signing in Bucharest of The PoincaréAngelescu Educational Convention on June 15, 1919, a document according to which the French state provided its support for the consolidation of Romanian education, especially in the new provinces that entered the Romanian state. Thus, in Bucharest, the French university mission was created as a separate entity as a result of this convention. Later, in 1924, it was reorganized into the French Institute of Higher Studies. Through these two concrete actions, the French state took the initiative and offered its promised support for its ”Latin sister in Eastern Europe”. In the same period, the actions of the Kingdom of Romania in this sense were much slower and more indecisive, requiring a private initiative of the historian N. Iorga.

Art therapy is the intentional therapeutic use of the fine arts. Like music, dance, poetry and theater therapy, it is assigned to artistic therapy. This article provides an overview of general and recent developments as well as the state of the art in teaching in the discipline art therapy. Furthermore, two art therapeutic forms of intervention, the body outline image method (KUM) and Photo-Art-Therapy, are introduced. The aim is to further standardize the education and further training landscapes of art therapy, not least in order to further increase patient safety. This includes, for example, conveying systematically checked interventional measures and manuals that the students learn both theoretically and in the form of self-awareness. For about 10 years now, more and more high-impact quality research studies have been carried out Further evaluation studies in this field are desirable.Kunsttherapie ist der intentionale therapeutische Einsatz der schönen Künste. Wie Musik‑, Tanz‑, Poesie- und Theatertherapie wird sie den Künstlerischen Therapien zugeordnet. Der Beitrag gibt einen Überblick sowohl über allgemeine neue Entwicklungen als auch den State of the Art in der Lehre des Fachs Kunsttherapie. Ferner werden zwei kunsttherapeutische Interventionsformen, die Körperumrissbild-Methode (KUBM) und die Fototherapie, vorgestellt. Eine weitere Standardisierung der kunsttherapeutischen Aus- und Weiterbildungslandschaft wird angestrebt, nicht zuletzt, um die Patient:innensicherheit noch weiter zu erhöhen. Dazu gehören etwa die Vermittlung systematisch überprüfter Interventionsmaßnahmen und Manuale, die die Studierenden sowohl theoretisch als auch in Form von Selbsterfahrung erlernen. Seit etwa 10 Jahren werden vermehrt hochwertige Wirkungsforschungsstudien durchgeführt. Weitere Evaluationsstudien in diesem Feld sind erstrebenswert.

Rammstein provoke. In their songs and music videos, the band plays with ambiguities surrounding German history and tests the limits of what can be said and sung. This becomes particularly clear in their single "Deutschland," an (anti?) hymn to the nation. In the cinematically bombastic music video, the band members present themselves as concentration camp inmates and SS officers, among other things. All just spectacle? Or political after all? The relationship between politics and pop can be seen in its various dimensions in Rammstein. Table of contents: Einleitung | Zitate, Bezüge und Verweise | Mehrdeutigkeit | Musik | Geschichte | Pop-Ästhetik | Race & Gender | Nation | Gefühle | Rezeption | Live-Performance | Schluss: Wie politisch ist Deutschland? oder Wie ist Deutschland politisch

Der erste Satz (Prelude a la nuit) der Rapsodie Espagnole (1907–08) von Maurice Ravel wird hier in Bezug auf die integrative Funktion der Klangfarbe naher erortert. Die folgende These bildet den Ausgangspunkt: In der Musik Ravels ist die Klangfarbe ein konstitutiver Faktor, der die Form wesentlich mitbestimmt. Klangfarbe und Form bilden ein multidimensionales Ganzes, das sich aus den unterschiedlichsten Perspektiven (Melodik, Harmonik, Energieverlauf, Klanghelligkeit, psychologische Expektanz u. a.) betrachten lasst. Ergebnis der Analyse ist eine Polyvalenz der Form – eine Spannung zwischen einer kreisformigen Bewegung und einer stetigen Weitung und Offnung, die der Geschlossenheit das Prinzip der Veranderung entgegensetzt. The first movement (Prelude a la nuit) of Maurice Ravel’s Rapsodie Espagnole (1907–08) is discussed in detail in regard to the integrative function of timbre. The following argument is applied as a point of departure: In Ravel’s music, timbre is a constitutive factor which co-determines musical form. Timbre and form are part of a multidimensional whole that can be viewed from a wide variety of perspectives (melody, harmony, energy flow, timbral brightness, psychological expectancy etc.). The result of the analysis is a polyvalence of form in this piece – a tension between a closed circular movement and a tendency of steady expansion.

Dieser Artikel untersucht die kreativen Prozesse in der freien modalen Solo-Improvisation in iranischer klassischer Musik mithilfe eines analytisch-vergleichenden Ansatzes. Der Text ist in drei Hauptabschnitte gegliedert: (1) »Lehr- und Lernprozesse in der Improvisation iranischer Musik«, (2) »Die Wechselbeziehung zwischen persischer Sprache und iranischer Musik«, (3) »Die Herleitung theoretischer Regeln der iranischen modalen Solo-Improvisation durch vergleichende Analyse«. Der Schwerpunkt der Untersuchung liegt auf der vergleichenden Analyse von neun Auffuhrungen einer Gūse namens Qaratsche – funf vokalen und vier instrumentalen Performances , die ein breites Spektrum von Moglichkeiten innerhalb eines bestimmten Modalbereichs abdecken. Auserdem wird in der Analyse gezeigt, wie das gleiche melodische Material in unterschiedlichen Arrangements prasentiert werden kann. This article explores creative processes in free modal improvisation by soloists in Iranian classical music through an analytical-comparative approach. The text is divided into three main sections: (1) “Teaching and learning Iranian music improvisation,” (2) “The interrelationship between Persian language and Iranian music,” (3) “The derivation of theoretical rules for Iranian modal solo improvisation through comparative analysis.” The study is based on a comparative analysis of nine performances (five vocal and four instrumental) of a gūse called Gharache covering a broad spectrum of possibilities within a certain modal area. The study also demonstrates how the same melodic material can be presented in different arrangements.

Released in three separate volumes, the publication continues the Polish museology series published for several years now and related to the losses incurred as a result of WW II within the borders of today’s Republic of Poland. The Preface to Volume I on the war losses of the Town Hall of the Main City of Gdańsk by the Director of the Museum in Gdańsk Waldemar Ossowski, contains reflections essential for the discussed issue. The three-volume series opens with the War Losses of the Town Hall of the Main City of Gdańsk (Vol. I). Briefly, the most essential facts have been highlighted in the story of its raising, and the functions of the major Town Hall interiors, both sumptuous and serving as offices, have been described: the Grand Hallway, the Grand Room called Red or Summer Room, the Small Room of the Council called Winter Room, the Grand Room of the City Council, the Treasury, and the Deposit Room. In the final months of WW II, Gdańsk lost about 80% of its most precious historic substance within the Main City. As early as in April 1945, the search for and the recovery of the dispersed cultural heritage began. War Losses of the Artus Manor and the Gdańsk Hallway in Gdańsk (Vol. 2) begins with a sepia photograph from 1879. As of October 1943 to January 1945, the following took place: dismantling together with signing and numbering of the objects, packing into wooden chests, and evacuation to several localities outside Gdańsk. It has already been ascertained that as early as in mid-June 1942, some dozen of the most precious historic monuments were evacuated from the Artus Manor, of which several items have not been recovered: late- -mediaeval paintings (Boat of the Church, Siege of Marienburg, Our Lady with Child, and Christ, Salvator Mundi), several elements from the four sets of tournament armours from the section of the Brotherhood of St Reinold, the sculpture Saturn with a Child, the sculpture group Diana’s Bath and Actaeon’s Metamorphosis, as well as some dozen elements of the décor of the Grand Hall. All these historic pieces were transferred to the village of Orle (Germ. Wordel) on the Sobieszewo Island on 16 June 1942. Only fragments of tournament armours have been recovered: they were found at various locations under the circumstances hard to clarify many years later. The most extensive war losses have been presented for the Uphagen House (Vol. 3). The majority of the gathered art works, the interior equipment and usable objects essential in the burgher’s tenement house transformed into a museum in the early 20th century have not been found, thus they have not returned to their original location.

The present paper discusses Li Hongwei’s novel The King and Lyric Poetry (2017). The novel tells the story of the suicide of the last Nobel Prize laureate in the future history of literature, Chinese poet Yuwen Wanghu. Following the detective thread of the book, the essay reconstructs utopian and dystopian semi-virtual landscapes of the mid-21st century China which feed into two different models of lyricism: the poet as a knight errant who seeks inspiration far from modern civilization and the poet as a lonely warrior against (technological) tyranny. In the final scene, the two landscapes blur and the antithetical forces that infuse them: lyricism (Yuwen) and power/knowledge (the King) merge into what may be seen as their dialectical synthesis to be fulfilled by the novel’s third protagonist – Yuwen’s young friend, Li Pulei. Mobilizing various contexts, including the suicides of famous mainland-Chinese poets, important poetry polemics, and intertexts ranging from classical Chinese literary theory through to Truman Show and Matrix, I argue that the novel mirrors the development of poetry discourse in the PRC with its various myths, conflicts, complexes, and ambitions. I also show how this discourse, shaped for a long time largely by the so-called Third Generation poets born in the 1950s and 1960s, translates into the situation of the poets who belong to a younger generation (“post-70”) represented by Li Hongwei among others, and what (self-)expectations, challenges, and limitations they face in their writing.

Olgulardan hareketle olaylar arasindaki neden-sonuc iliskisini goz onunde bulundurarak tarihsel gecmisi ve toplumsal gercekligi aciklamaya calisan tarih, kendine ozgu metodolojik ozelliklerinin yaninda, bir olcude tarihcinin bakis acisina gore sekillenen bir bilimdir. Esasen sosyal bilimlerin geneli icin de soz konusu olan bu durum, nesnellik konusunu gundeme getirmekle beraber, verilerin toplanmasi ve degerlendirilmesinde tarihcinin basat konumu dolayisiyla kacinilmaz gorunur. Turkiye’nin onde gelen tarihcilerinden olan Kemal H. Karpat, Turk modernlesmesini zengin birikimi ve disiplinler arasi bir bakis acisiyla ele alarak kapsamli bir sekilde cozumlemeye calismistir. Bu calisma esas itibariyla, Karpat’in tarihciligi konusunda yukarida bahsedilen indirgeyici bakis acilarinin bir ornegi olan Nuray Sancar’in, soz konusu tarihci ile ilgili elestirel yaklasimlarina bir cevap mahiyeti tasimaktadir.

German-born American poet, novelist, journalist and editor George Sylvester Viereck (1884 –1962) during his almost 60-year literary career (his first poem was published in 1898) befriended, met and corresponded with hundreds of contemporaries, including world famous persons. His first biographer Elmer Gertz wrote in 1954, “One should go through Viereck’s correspondence with the great personalities of his time in order to learn the full extent of the admiration they expressed for him. Alas, that correspondence is scattered; but excerpts from it can be found in the catalogues of various autograph dealers and should be preserved”. Liberated from prison in 1947 Viereck was not able to restore his previous position in literary world, was in need of money and had to sell autographs from his personal archive. This publication includes letters of four writers addressed to Viereck and dealing with his literary and editorial work. All of them are preserved in the author’s private collection and are published in English for the first time. In Russian translation one letter is published for the first time, another one was previously published, two letters were quoted. Journalist, writer, and politician Brand Whitlock (1869 –1934) followed Viereck’s journalistic activities as well as his Decadent poetry. English author and poet Richard Le Gallienne (1866 –1947), being a living incarnation of the “naughty nineties” for Viereck, valued contributing to his magazine The International. Known as the Dean of American Biographers, famous writer Gamaliel Bradford (1863 –1932) refused to support Viereck’s protest against the prohibition of his novel My First 2000 Years in the Irish Free State. Poet, artist and filmmaker Ferdinand Earle (1878 –1951) remained faithful to his long friendship with Viereck even when the latter was emprisoned.

The essay presents an overview of Jewish American prose of the second half of the 20th — first two decades of the 21st century within the context of multicultural literature of the USA. The definition of Jewish literature remains a matter of debate. The author of the essay based on the opinions of critics concludes on the criterion for assigning a writer to Jewish literature. It is the artistic embodiment of the personal Jewish experience and identity in the works of literature, the view “from inside,” the perspective of collective memory and the connection to history and culture. Jewish literature today is one of the most developed ethnic segments of multicultural American literature. Writers under study are recognized throughout the world, their works have been translated into many languages, including Russian, they are known to readers and have already become the subject of study by literary scholars. Today, Jewish American literature is represented by two generations of writers. “Senior” generation includes the authors born in the 1920s–30s who began their literary careers in the 60s when there was a generational change in national literature. “Young” generation is represented by the writers who began their literary careers in the 2000s. On the example of the works of the most famous authors of both generations, the author of the essay talks about the factors determining the specific features of Jewish American prose and its characteristic themes, problems, and motives: the search for identity and roots, the representation and rethinking of the Holocaust, ethnic stereotypes, the image of the Jewish family, and the traditions of Jewish humor. The study of the works of modern Jewish writers in the United States allows us to draw conclusions about the display of border consciousness, national and ethnic identity, and collective memory in fiction.

Walt Disney’s studio created second full-length film Pinocchio in 1940. Its plot and interpretation of the characters were significantly different from the Carlo Collodi’s novel. Disney wrote enthusiastic letter to playwright and director Yasha Frank, who staged Pinocchio as theatre extravaganza in 1937. This production has become a landmark of the Children’s Theatre Project in the framework of Federal Theatre Project, being visually picturesque, inventive and up-to-date according to its social message. It was a story about the complexity of the emergence of a new human, which was especially significant in the context of the ideas of revising the structure of society. There is a reason to see in the Pinocchio script an attempt to substitute theatre dramaturgy by circus language, so essential for the Soviet theater of 1910–20s. The plot was split into numbers performed by professional variety and circus performers, and was reassembled: gags were an organic part of this new plot. However, Frank may not have escaped the influence of animation as well. The article is based on Yasha Frank’s working script, photos and reviews. It examines circus and cinema elements that were used for the theatre’s Pinocchio by Yasha Frank, and its influence to famous Walt Disney’ studio cartoon.

Przemysław Wiater PhD was a historian, art historian, museum curator, and a regionalist. In 1994–2020, he worked as a certified curator at the Carl and Gerhart Hauptmann House in Szklarska Poręba. In February 2020, he became Director of the Karkonosze Museum in Jelenia Góra. Furthermore, in 2008–2017, he ran courses at the Higher School of Management in Legnica. Committed to recovering historic monuments from Lower Silesia, he also served as a councillor for several terms of office in Szklarska Poręba, where he lived. An outstanding regionalist, Wiater focused on investigating the history of Lower Silesia, particularly the Karkonosze and Izera Mountains. He was the first to undertake research into the local tangible and non-tangible cultural heritage, popularizing it in publications describing the history of Szklarska Poręba, Walloon mineral and gem prospectors, old herbalists and laborants, history of glassworks, or the figure and legend of the Spirit of the Mountains. Having discovered the phenomenon of artistic colonies, he popularized it and adapted to harmonize with contemporary times. His idea was to culturally integrate the region basing on historical cultural contents and the heritage imported by post- -WW II settlers. Sharing his knowledge in a popular way, he infected others with his passion, particularly young people to whom he provided support and inspiration. It was at his instigation that the W.E. Peuckert Guild of the Sudety Mountains Guides was formed; member of the Chapter of the Sudety Mountains Walloon Brotherhood, he was also the knight of the informal Society of the Evening Castle, additionally cooperating with the Izery Society. Originator of the Izery Retro Run and the Flannel Rally, he inspired the formation of several tourist routes, such as the ‘Juliusz Naumonowicz Walloon Hiking Trail’, contributing to the creation of the ‘W.E. Peuckert Trail’ and the Polish-Czech ‘Laborants’ Trail’.

Creativity is the cornerstone of generating new ideas. Creating something new and designing original products while creation is the most important subject of the designing process. If the designer cannot produce authentic designs in the process from the first step to the last, the result cannot go beyond imitation. The value of a specific design is evaluated by its originality and originality is achieved by creating designs that are different from what already exist. Thomas Edison would not have invented the light bulb if he had adopted to the idea of burning candles in the dark like the people of his days. He came up with a creative idea, fulfilling its requirements and eventually invented the light bulb over time. His original invention glorified his name and placed him among the most useful people in human history. The concept of creativity, which forms the basis of originality, is also indispensable in the fields of design arts like graphic, ceramic, sculpture, painting, etc. The first step of the design is to shape it as an original idea. The more distinctive and creative the design is, the more unique it is. The extent of originality of the design makes it more precious. In this context; an ideal design is to create the idea with the best way of expression and with the most accurate elements. Creativity is the most decisive part of the creation process. This research is prepared for the concept of creativity and its importance in the determining factor of design authenticity in all art disciplines.

The aim of this paper is to reconstruct the different uses of the analogy between phúsis and tékhne that Aristotle introduces in Physics II. I will try to show that this comparison is referred to in order to exemplify a thesis, but also for arguing or defending a specific position, i.e. it can appear as a didactic resource, but also as a premise for an argument. This is a sign of a peculiar view about the structure of the reality. For ease of presentation, firstly, I will explain the use of the analogy between phúsis and téchne in the context of the definition about what is nature. Secondly, I will present the use of this comparison in the clarification of the two senses of phúsis. Finally, I will explore the apparition of these terms in the argumentation of Physics II 8. In these passages, Aristotle defends the presence of final causes in nature.