ARS INTER CULTURAS https://aic.apsl.edu.pl/index.php/1 <p>Edukacja artystyczna i edukacja międzykulturowa są dziedzinami, które w ostatnich latach przeżywają potrzebę wzajemnego ubogacania treści, poszukiwania inspiracji w obszarach wszechstronnego rozwoju człowieka, a więc także w sztuce pogranicza, dziełach i działaniach artystycznych wykraczających poza własne, rodzime – narodowe i etniczne uwarunkowania. Człowiek gotowy do podjęcia dialogu międzykulturowego staje się otwarty na fenomeny sztuki innych kultur. Sztuka i jej estetyczno - kulturowy kontekst stwarza człowiekowi obszar uczenia się i dostrzegania „innego” piękna. To z kolei daje możliwość i szansę poznania Innego, jego wizji świata ujmowanej metaforycznie: w dźwiękach, obrazach i poezji.</p> <p>Podstawowym założeniem tak pojmowanego dialogu jest uczenie się rozpoznawania w twórczości artystycznej wartości, które powinny służyć jako zadanie do „rozszyfrowania”&nbsp;znaczeń&nbsp;i pogłębionego rozumienia dzieła kultury duchowej. Jest to tym trudniejsze, im bardziej kultury te oddalone są od konwencji polskiej i europejskiej. Prawdziwym wyzwaniem jest sytuacja spotkania ze sztuką, która pochodzi od przedstawiciela&nbsp;<em>dalekiej</em>&nbsp;kultury, posługującym się&nbsp;<em>innym</em>&nbsp;językiem wypowiedzi estetycznej, niespotykaną w naszym kręgu kulturowym stylistyką i strukturą.</p> <p>Europejczyk jest podmiotem ukształtowanym przez swoistą dla siebie&nbsp;enkulturację: sobie tylko właściwym systemem wartości i norm, które uznaje za prawidłowe, niepodważalne i prawdziwe. Dotyczy to również wartości sztuki europejskiej, jej wielowiekowych dokonań, stanowiących część tożsamości kultur i jednostek żyjących na tym kontynencie, trwale kształtującej ich świadomość estetyczną i wynikającą stąd wspólnotowość. Współczesne rozumienie wielokulturowości musi uwzględnić te uwarunkowania, a także istotnym w tym kontekście jest fakt, iż w europejskiej sztuce od wieków trwa proces asymilacji obcych, pozaeuropejskich kultur, które w tej twórczości ubogacają jej treść, zyskując nową artystyczną formę.</p> <p>Proponowane przez nas czasopismo wychodzi naprzeciw ujętym tu zagadnieniom badawczym. W gronie założycielskim (Radzie Naukowej) znaleźli się specjaliści tworzący szeroką płaszczyznę dyskusji, wywodzący się z kręgów zarówno edukacji artystycznej, jak i edukacji międzykulturowej czy wreszcie, co równie istotne, pedagogiki ogólnej, filozofii, estetyki. Wyrażamy nadzieję, że publikowane w roczniku artykuły wniosą istotny wkład w rozwój zarysowanego tu obszaru wzajemnie powiązanego treściowo, jak i intencją pedagogiczno-artystyczną.</p> <p style="font-weight: 400;"><strong>Tytuł czasopisma: ARS INTER CULTURAS</strong></p> <p style="font-weight: 400;"><strong>ISSN 2083-1226</strong></p> <p style="font-weight: 400;">Czasopismo jest indeksowane w następujących bazach referencyjnych:<br><a href="http://bazhum.muzhp.pl/czasopismo/482/">BazHum</a><br><a href="http://cejsh.icm.edu.pl/cejsh/element/bwmeta1.element.cejsh-f2a0792f-1f31-420c-8082-f0d9be3c2c9c">CEJSH</a><br><a href="https://www.ceeol.com/search/journal-detail?id=1357">CEEOL</a><br><a href="https://journals.indexcopernicus.com/search/details?id=24798">Index Copernicus</a>&nbsp;</p> <p style="font-weight: 400;">Wykaz czasopism MNiSzW - 20 pkt&nbsp;</p> <p style="font-weight: 400;">Miejsce wydawania: Akademia Pomorska w Słupsku</p> <p style="font-weight: 400;">Cykliczność wydawania: Rocznik</p> pl-PL <p><img src="http://i.creativecommons.org/l/by-nc-nd/3.0/88x31.png" alt="" width="88" height="31"> &nbsp;</p> <p>https://creativecommons.org/licenses/by-nc-nd/4.0</p> janechic33@wp.pl (admin) janechic33@wp.pl (Administrator) nie, 13 gru 2020 00:00:00 +0000 OJS 3.1.2.4 http://blogs.law.harvard.edu/tech/rss 60 Sztuka jako narzędzie poznawania artystyczno-kulturowej przestrzeni – omówienie prac „Ars inter Culturas” https://aic.apsl.edu.pl/index.php/1/article/view/316 <p>In the current issue of the journal "Ars inter Culturas", scholarly articles have been gathered and arranged into several thematic groups. Most of the issue is devoted to music, its analysis and to musical education, both conceptual and historical studies, as well as research into its effects. The articles in the first section are arranged chronologically, covering musical space from ancient Egypt to contemporary times. The second section includes historical research on music education, from the perspective of both Eastern European and Polish experiences. The third section maintains a multicultural profile, showing the interpenetration of various musical concepts between countries and their national adaptations.</p> <p>Traditionally, space is set aside in "Ars inter Culturas" for fields that round out the theoretical area of other aspects of multiculturalism. This time, these were texts offering theological analysis as well as in teaching religious education for young people. The last part of this issue are references to other arts – ballet, design, as well as historical and contemporary interpretation of literature, and sport.</p> Jarosław Chaciński Copyright (c) 2020 https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/316 sob, 05 gru 2020 00:00:00 +0000 The Sound of Ancient Egypt - Acoustics and Volume Measurements https://aic.apsl.edu.pl/index.php/1/article/view/327 <p>In ancient Egypt performances inside and outside buildings are documented (open air, under canopies, in rooms). The article discusses the different acoustic conditions at the various performance venues. Within the scope of experimental music archaeology, the volume of replicas of musical instruments from ancient Egypt and modern equivalents was measured. This technical approach in connection with iconographic, textual, and archaeological evidence provides a valuable, practice-oriented contribution to our knowledge of ancient Egypt and its music archaeology.</p> Heidi Köpp-Junk Copyright (c) 2020 https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/327 sob, 05 gru 2020 00:00:00 +0000 Итальянские капельмейстеры в Российской империи второй половины ХVІІІ века и православная церковная музыка https://aic.apsl.edu.pl/index.php/1/article/view/332 <p>The article examines the Orthodox church music of Italian composers of the second half of the eighteenth century, who were invited to the capital of the Russian Empire for the post of first court bandmaster. The main duties of the Italian bandmasters were to compose secular music, especially operas for the court theater. The creation of choral concerts for the court choir that took part in church services with the participation of the first persons of the Russian Empire was not included in the contractual obligations. The main purpose of the appeal of Italian bandmasters to this area of creativity was to create a new church repertoire, which was closer in style to the European one. The domestic choir directors, brought up on the traditions of the old church singing art, did not cope with this task. The article contains an overview of the handwritten sources in which the sacred music of the Italian bandmasters was discovered.</p> Ольга Шумилина Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/332 nie, 13 gru 2020 00:00:00 +0000 Польские образы Бориса Лятошинского https://aic.apsl.edu.pl/index.php/1/article/view/334 <p>This article examines the connections of the outstanding Ukrainian composer Boris Lyatoshinsky with Polish culture of the 20<sup>th</sup> century. These connections can be traced at the genetic level and in the context of his music from the 1950s and 1960s. It is argued that the Polish theme forms a kind of supercycle in the composer's work, which symbolizes the memory of culture and unites a number of his works with Polish themes. These include the piano "Slavic Concerto" by B.&nbsp;Lyatoshinsky, the symphonic poems "Grazhina" and "On the Banks of the Vistula," and the "Polish Suite" for a symphony orchestra. This supercycle is associated with the “memorial” genre, which actualizes the “memory” mechanism. In this case, we are talking about the "Polish memory" of B. Lyatoszynski, a characteristic feature of which is the connection with the Polish musical culture, which is present in his works at the intonation, genre, and conceptual level.</p> Мирослава Новакович Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/334 nie, 13 gru 2020 00:00:00 +0000 Embodiment of Denys Sichynsky’s Autobiographic Reflections in His Vocal Creative Work https://aic.apsl.edu.pl/index.php/1/article/view/335 <p>Denys Sichynsky is one of the brightest representatives of the musical culture of Eastern Galicia at the turn of the twentieth century. He belongs to the so-called second generation of Galician composers, successors and followers of the Przemyśl School, Mykola Lysenko, influenced by European musical romanticism, and a forerunner of modernist trends in Ukrainian vocal music. Vocal music is the main area of ​​the artist's work.</p> <p>The pages of Sichynsky's Autobiography open up a narrative that is a unique model of his own reflection on life events, as well as one of his self-realization forms in the romance genre. It makes it possible to decode a complex creative identity and compare the autobiographical description of his own life history with factual material available. The “Autobiography” becomes a key to understanding the composer's choice of vocal works and the specifics of reading literary texts of romanticists and his contemporaries, as well as their musical implementation. Sichynsky's mental constitution, viewed from the pages of his vocal works, is one of his identification forms as an artist with challenging destiny from the Austrian province of the Habsburg Empire at its decline/sunset, which coincided with the fin-de-siecle period marked by new artistic trends.</p> <p>D. Sichynsky's vocal creative work, which completes the era of Romanticism and reveals the first sprouts of modernist aesthetics in Galician vocal music, was first considered through the prism of autobiographical reflections. The features of the new worldview in vocal works were self-formed under the influence of the aesthetics of Ukrainian (Ivan Franko, Lesia Ukraiinka, Bohdan Lepkyi, Uliana Kravchenko) and Polish (Lucian Rydle, Marian Havalevіch) modernist poets, Ukrainian and foreign romantic traditions of the solo singing genre, as well as opera art by Verdi, G. Puccini, and composers-verists. His vocal creative work formed a basis for the chamber and vocal music formation by the new generation of Ukrainian artists of Galicia – S. Liudkevych, V. Barvinskyi, ad N. Nyzhankivskyi, who in the first decades of the twentieth century elevated the genre of Ukrainian vocal miniature to the highest level of European vocal art.</p> Iryna Zinkiv Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/335 nie, 13 gru 2020 00:00:00 +0000 The Humanistic Pathos of Iannis Xenakis’ Choral Musical Legacy https://aic.apsl.edu.pl/index.php/1/article/view/336 <p>The article is devoted to study of the substantive vectors of Iannis Xenakis’ choral music. The author elicits the crucial themes declared for the first time in the 1960s, which have preserved their relevance during the course of the composer’s entire choral output. Also, the author discusses particularities of the interactions between the text and music, and the specificity of the timbral solution of the compositions, making it possible to speak of both the influence on the choral writing of the composer’s contemporaries and of the individuality of the creative manner of Xenakis himself. Within the framework of textural analysis, the main varieties of texture characteristic for Xenakis’ compositions of that time period are educed: along with the newest techniques of “artificial reverberation” and elements of diagonal organization, we can encounter the types of musical exposition characteristic for compositions of romantic composers – homophonic-harmonic, chordal, homophonic-polyphonic, and strata texture, as well as the classical techniques of juxtaposition of soli – tutti. Such a combination of traditional and the newest techniques of choral writing is analogous to the coexistence of techniques of phoneme composition and a strict adherence to ancient literary sources. In total, all of this stipulates the brilliant individuality of Iannis Xenakis’ choral musical legacy.</p> Aleksandr [S] Ryzhinskii Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/336 nie, 13 gru 2020 00:00:00 +0000 Znaki i powtórzenia w muzyce Augustyna Blocha - próba reinterpretacji https://aic.apsl.edu.pl/index.php/1/article/view/337 <p>This attempt to reinterpret the works of Augustyn Bloch is based on the philosophical thought of Gilles Deleuze. The transfer of the philosopher's thought, focused mainly on the analysis of literary works, into the scope of questions of music takes into account the peculiarity of a musical work - its ontological essence. Following the signs and repetitions in the music of Augustyn Bloch, I therefore distinguish two categories of phenomena. The first are borrowed signs. These are in fact quotations of the creative work of another. They bring the essence that grows from an outside source, and refer to group memory. The second are quotations of one’s own creative work, original reminiscences, which most often symbolize earlier works; they also become a personal code of the artist’s compositional strategy. The nature of these is twofold - externally emotive, when the message of meaning is recognized by a wide group of recipients, and internally emotive, recognizable only by a narrow circle of experts.</p> <p>Repetitions of characters in each of these categories are present both in the surface layer (structural) and deep (expression) differences. Their catalog is most often dependent on the message of the work. The essence of repetition is therefore the internal tension depending on the difference.</p> Joanna Schiller-Rydzewska Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/337 nie, 13 gru 2020 00:00:00 +0000 Концерт для слушателя с оркестром. Пути развития партиципаторного музыкального искусства https://aic.apsl.edu.pl/index.php/1/article/view/361 <p>The article is devoted to participatory musical works created in collaboration with the public. Listeners act as a composer’s creative partners — co–authors and performers. Comparative analysis of different interpretations of the concepts of “musical participation” and “participatory music” allows us to highlight the key characteristics of this phenomenon. In addition, the author believes that it is important to substantiate the legitimacy of using the term “participatory art” outside of any specific genre, stylistic, or time frames.</p> <p>The study of participatory works leads to understanding of the various tasks that are achieved in the process of collective creation. The interaction between the composer and the audience strengthens interpersonal relationships. Listeners are meant to receive a role through which they could show their individuality most clearly; and this condition stimulates the search for new expressive means. As a result, peculiar genre forms emerge. At the same time, listeners comprehend the inner logic of musical art themselves.</p> <p>It is noted that composers retain the traditional genre classification, not deeming it necessary to emphasize audience participation. However, compositions with the participation of the public are becoming a noticeable phenomenon of modern musical life. This generates a pressing challenge — to establish the correspondence of the techniques used in working with the audience to the artistic concept, and to propose a typology of participatory works. Some compositions emerge as an artistic experiment. Others are part of educational projects. Some works are aimed at studying the benefits of cooperation between the composer and the public. Along with the practices considered in the article, there are a number of prospective opportunities that can ensure the fruitful involvement of the public in the creative process. All this allows us to hope that participatory musical art will enjoy further successful development.</p> Татьяна Цветковская Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/361 wto, 22 gru 2020 00:00:00 +0000 Die Vielfalt der musikpädagogischen Konzeptionen in der sowjetischen Ukraine in den 1920er und 1930er Jahren https://aic.apsl.edu.pl/index.php/1/article/view/339 <p>In this article, the music education systems of Central and Eastern Ukraine are presented. The historical background of the pedagogical concepts of Kyrylo Stetsenko, Mykola Leontowytsch, Jakiv Mamontow, Hnat Chotkewytsch and Wasyl Werchowynec are considered. In addition to the holistic development of children, music-pedagogical concepts were to cultivate their sense of national identity.</p> <p>The most important principles of Ukrainian music pedagogy are briefly characterized in the interwar period</p> <p>The first principle is the correspondence of the goals and methods with the leading music teaching systems in Europe - Karl Orff, Zoltan Kodai, Emil Jacques-Dalcroz and Leo Kestenberg. The focus of all systems is the child and their creative potential, which must be developed not only through the art of music per se, but through the synthesis of all other forms of artistic activity.</p> <p>The second principle - the consistent introduction of national folk traditions and musical material - requires further explanation. As a stateless nation that urgently needed to make up for lost time quickly (since most of the formerly stateless peoples had already formed their identity markers, also in education), the Ukrainians developed musical and educational concepts that, in addition to the above-mentioned holistic development of the child, had to preserve a sense of national identity. In addition, the acquisition of national musical archetypes in early childhood seems indispensable, which is why all music-pedagogical systems clearly prefer folk songs, folk dances, customs and manners.</p> Luba Kyyanovska Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/339 nie, 13 gru 2020 00:00:00 +0000 Kształtowanie się współczesnej koncepcji polskiego systemu szkolnictwa muzycznego w latach 1945-1959 w kontekście dyskusji środowiskowych https://aic.apsl.edu.pl/index.php/1/article/view/340 <p>In the period after World War II, a new three-tier organization of music education was introduced in Poland. In 1945, schools were divided into music schools&nbsp;of&nbsp;lower&nbsp;degree, middle degree schools and music colleges and academies as&nbsp; higher music education. There were also music appreciation schools The solutions adopted were largely based on the patterns that existed in the Union of Soviet Socialist Republics. The three-tier structure enabled - according to the designers of this model - to adapt teaching to new needs and specialize depending on the student’s level of talent. However, the introduction of new organizational solutions faced difficulties, some of the music community questioned the scope, pace and nature of the changes. A separate position was presented by many recognized Polish musicians and teachers. Music schools introduced the new teaching structure in a slow and often reluctant manner. As a result of the pedagogical discussion in the late 1940s and early 1950s, the Ministry of Culture and National Heritage introduced quite significant changes. Although the three-tier structure was retained, music appreciation schools were closed.</p> <p>In the 1950s, intensive efforts were undertaken at the Ministry of Culture and Science to analyze the problems of the Polish model of music education and&nbsp; prepare new structural solutions. Outstanding representatives of Polish musical life took part in these. A number of systemic difficulties were noticed, including students overburdened with studies, high drop-out rates, and artificial separation of the stages of education. New concepts for the organization of education were presented, frequently with references to the old, pre-war solutions, which were appreciated as already tested and more effective. Some outstanding musicians and teachers presented their critical standpoints in the music press. Despite the unequivocal position of many representatives of the pedagogical and music community, the authorities of the Ministry of Culture and National Heritage lacked the determination and sufficient courage to carry out a fundamental reform of the Polish model of music education. Legal acts were prepared and published in which the then current model of education was maintained. Primary music schools of the first degree were provided functions of music appreciation education, and second-degree schools were assigned professional functions.</p> <p>This article is the first attempt to show the circumstances of implementing a new model of music education in Poland. It shows the reaction of the pedagogical and musical community as well as the continuous structural problems. The article was prepared with the use of extensive archival sources, press articles and legal documents.</p> Jarosław Domagała Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/340 pią, 29 sty 2021 00:00:00 +0000 Die Angst vor dem Fremden https://aic.apsl.edu.pl/index.php/1/article/view/341 <p>The “fear of the foreign” is a phenomenon which seems to divide the European Union, which is not an individual phenomenon, but one of the societies. This article discusses possible methods how to deal with this fear through multicultural music education. The short “history” of multicultural music education in Germany from 1983 up to 2020 shows how this problem was addressed there. The author has developed a method of dramatic interpretation of music, which is suitable for dealing with fear without mentioning the topics “fear” and “the foreign”, but playing the cultural background of different kinds of music which are familiar to migrants and refugees living in Europe.</p> <p>&nbsp;</p> Wolfgang Martin Stroh Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/341 nie, 13 gru 2020 00:00:00 +0000 Creative Methods for Developing Creativity Successful Cooperation of Formal and Non-Formal Education in Music Teacher Training https://aic.apsl.edu.pl/index.php/1/article/view/343 <p>The Institute of Arts Communication and Music of Eötvös Loránd University (ELTE) began its 35<sup>th</sup> year of education in September 2019. Our Institute qualifies classroom music teachers (among others) who will be able to ensure the possibility for their pupils to access the right of learning and performing music.</p> <p>A classroom music teacher should be familiar with the formal and informal education within the school and in out-of-school programs as well. This special task requires a high level of creativity and the ability to improvise on one hand and strictly professional knowledge on the other, not only in the field of music but in the organization and moderation of different groups of youngsters. Therefore, we want to instruct students in such teaching methods that foster their capacity for creativity. Besides, we also know that a music teacher must be creative amidst the problems and challenges of today’s world either from a socio-cultural or simply an educational point of view. For this reason, we always seek professional partners who can develop our training programs.</p> <p>This short study introduces two good-working examples of formal and informal cooperation, where the partners of the Institute of Arts Communication and Music are professional experts in their field of education.</p> <ul> <li class="show">The ‘Psalmus Humanus Project’ is a special, integrated educational form. The members of the organization called the Psalmus Humanus Association for Arts Education are music and art teachers who can cover the field of education from kindergarten to university, so they can give lectures in various arts workshops for children to provide an opportunity – regardless of their cultural or social environment, or their health – to participate in a pleasurable artistic activity.</li> <li class="show">The ‘Kovács Method’ is the care of the capacity for musical work: special gymnastic exercises mainly for musicians to maintain and develop the physical, spiritual, and mental abilities necessary to carry on a successful life and career, and to prevent occupational impairments. The trainers are professionals both as music teachers and as instructors of this special method.</li> </ul> Gábor BODNÁR Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/343 nie, 13 gru 2020 00:00:00 +0000 Do improwizacji „kuchennymi schodami” w kontekście pedagogiki muzycznej Edwina E. Gordona https://aic.apsl.edu.pl/index.php/1/article/view/344 <p>This article is of a descriptive, explanatory and methodical character. The authors' interest in musical improvisation is taken from Edwin E. Gordon's theory of music learning. The key to pupils making improvisational efforts is to develop preparatory audiation in the home and in kindergarten, and then to sequentially develop proper audiation at school by systematically experiencing tonal and rhythmic patterns based on different musical scales (tonalities), in the order of music learning. The authors give an example of developing the readiness for improvisation and the ability to improvise on the basis of the authors’ song.</p> Maciej Kołodziejski, Barbara Pazur Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/344 nie, 13 gru 2020 00:00:00 +0000 Mothers in the Process of Supporting a Child’s Musical Development in the Prenatal Period – Today and Earlier https://aic.apsl.edu.pl/index.php/1/article/view/345 <p>The article presents the results of polls conducted in Poland among young mothers and women who gave birth many years ago, in order to compare selected aspects of their knowledge of musical development in children, their musical activity during pregnancy, and their observations related to children’s reactions to music in the prenatal and neonatal periods. The analysis showed that the level of the women’s knowledge was similar in some areas, while their levels of musical activity and observations concerning the children’s reactions to music differed in many regards. The study shows that young expectant mothers sang, listened to music, moved to the rhythm of music, and attended popular music concerts more frequently than the older respondents did. They also conducted more discerning observations of the children’s reactions to music. It was found that more young women observed increased fetal mobility in response to music, as well as the preference of newborns for specific songs, especially those they knew from the prenatal period.</p> Beata Bonna Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/345 nie, 13 gru 2020 00:00:00 +0000 Muzyka w Małej Ojczyźnie, Mała Ojczyzna w muzyce https://aic.apsl.edu.pl/index.php/1/article/view/346 <p>When at a loss for words, one could just as well seek a different mode of communication. Music is one such mode, which also includes intercultural communication. Written out in voices, sounds, tones and pauses, music unfailingly carries emotions, feelings, experiences, and messages.</p> <p>Music is also one of the key building blocks of cultural identity. Little Homelands are filled with their endemic music traditions; they also witness particular musical events and unique artists. Some people discover their personal and intimate Little Homelands in music.</p> Ewa Żmijewska Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/346 nie, 13 gru 2020 00:00:00 +0000 Kaszubi i ich wiara w Boga/bogów: religijność i wierzeniowość jako kulturowy fundament tożsamości https://aic.apsl.edu.pl/index.php/1/article/view/347 <p>The text presents a pedagogically important issue of textbooks for ethnic education. The examples investigated are textbooks for early Kashubian education. In Polish pedagogy, ethnic textbooks are rarely the subject of research in the field of early education pedagogy, regional education pedagogy and intercultural pedagogy. For this reason, they are periodically a subject of critical research which is aimed at examining them in the context of pedagogical reflections on cultural aspects of religiosity and religious beliefs. Religiosity and religious beliefs are the key area of the article. They allowed the textbook to present an aspect of “the truth” about ethnic identity (Kashubian identity). It also enabled me to recognize the textbook pattern of identity as a pattern of identity behaviours (Tadeusz Lewowicki) in the areas of language (Kashubian speech) and religious behaviours (Catholicism) and beliefs (Slavic-Kashubian).</p> Adela Kozyczkowska Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/347 nie, 13 gru 2020 00:00:00 +0000 Znaczenie filozofii w konstruowaniu koncepcji edukacji religijnej. Współczesne odczytania sporu ks. Józefa Tischnera z przedstawicielami polskiego tomizmu (lata 1977-1978) https://aic.apsl.edu.pl/index.php/1/article/view/348 <p>The text presents a fragment of a philosophical and religious dispute that took place between Józef Tischner and the representatives of the Polish Thomistic school (1977-1978). The analysis below focuses on the last phase of the polemic, in which the adversaries made an analysis of their own epistemological and anthropological assumptions. Showing the structure and the issues in this dispute may lead to the specific context of understanding Christian philosophy, as well as contemporary discussions on the shape and structure of religious education. One of the central questions, which has hitherto not lost its relevance, is the one of the relationship that exists between philosophy and religious thought (especially religious education). The following analysis is to provide the reader with a spectrum of possible answers to this question.</p> Szymon Dąbrowski Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/348 nie, 13 gru 2020 00:00:00 +0000 The Mind Is the World: Virginia Woolf on the Embodied Self https://aic.apsl.edu.pl/index.php/1/article/view/349 <p>Drawing on Jean-Luc Nancy’s insights into bodies as the place of existence, David Abram’s thinking on the more-than-human world, Jane Bennett’s conceptualisation of vibrant matter and Stacy Alaimo’s notion of “trans-corporeality,” this article explores how Virginia Woolf transforms fiction into a powerful epistemological tool in her examination of the self amidst a vibrant world. In novels like <em>Mrs. Dalloway</em> (1925), <em>To the Lighthouse</em> (1927) and <em>The Waves</em> (1931), Woolf found not only that human beings are finite, singular and exposed, but also porous, <em>embodied</em> selves that are sensuously immersed in the vitality intrinsic to matter. Fascinated by the flow of consciousness and the workings of the human mind when confronted with reality, the novelist seeks to capture the evanescent moment in time as refracted through the consciousness of her own characters. Her compulsion to write down impressions, thoughts, and half-ideas is expressive of her concern with imposing order upon the phenomena of a world populated by agentive entities through the medium of language. If the flux of life was simply unstoppable, language gave her at least the opportunity to freeze moments of being and look at them as if from simultaneous perspectives, as well as to shed light on how humans are <em>in</em> and <em>of</em> the earth — i.e., part <em>of</em>, not apart <em>from</em>, a more-than-human world.</p> Leonor María Martínez Serrano Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/349 nie, 13 gru 2020 00:00:00 +0000 Złota legenda o św. Krzysztofie w wybranych utworach dla dzieci https://aic.apsl.edu.pl/index.php/1/article/view/350 <p>The following article depicts the character and symbolism of St. Christopher in culture and literature for children diachronically.</p> <p>The author has analyzed selected hagiographic legends, fairy tales, and short stories from the nineteenth, twentieth and twenty-first centuries with reference to the medieval canonical text of The Golden Legend.</p> <p>This comparative method has allowed the author to sketch out the transformations of the legend of St. Christopher as well as the similarities and differences between the analyzed works.</p> <p>The changes in the image of St. Christopher in children’s literature are determined by pedagogical motives and the need to protect children from images of cruelty and Christ’s martyrdom.</p> Anna Nosek Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/350 nie, 13 gru 2020 00:00:00 +0000 (Nie)skażony obraz widowiska sportowego – między władzą spektaklu a spektaklem władzy https://aic.apsl.edu.pl/index.php/1/article/view/351 <p>This article concerns the issue of recognition and definition of a sports spectacle in terms of a cultural spectacle. The genesis of sports performances and their social background was presented, and the conditions that must be met for something to be regarded as a sports spectacle were specified. Examples of the use of the sport events (including the Olympic Games) for political manipulation and propaganda were analyzed, as well as references to the categories of racial prejudice, discrimination and xenophobia. The analysis of photography was used to characterize the relationship between politics and sport, which is presented synthetically.</p> Agnieszka Zalewska-Meler Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/351 nie, 13 gru 2020 00:00:00 +0000 Balet – baletnica – tancerz baletowy: badanie skojarzeń osób nietańczących https://aic.apsl.edu.pl/index.php/1/article/view/352 <p>Ballet, classical dance, as an art and a profession tries to keep up with modernity, while maintaining its unique, classic style. In the public perception, however, ballet remains an enigmatic art. Ballet performers are themselves aware that their passion and stage image are particularly susceptible to stereotypes. The interest of the media and of scholarship causes dancers more and more often to debunk myths, modify the styles of practicing the art of ballet, and work on their own personality. All these things they do just to surprise the average audience, ballet lovers, journalists and scholars. From an academic point of view, the perspectives of those who do not dance are worthy of study as well. The aim of the present research was to identify the most common stereotypical associations with the words “ballet”, “ballerina”, “ballet master”. Fifty-five people (forty-nine women, six men) aged from 19 to 48 (average age 25.2) from Pomeranian University in Słupsk took part in the study.</p> Maria Aleksandrovich, Jacek Kowalczyk Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/352 nie, 13 gru 2020 00:00:00 +0000 Praktyki designu a doświadczenie estetyczne https://aic.apsl.edu.pl/index.php/1/article/view/353 <p>The study of design practices in aesthetic terms (aesthetization and aesthetic experience) may appear, seemingly, trivial and irrelevant. However, the human environment today is in such a fundamental transition that failure to take account of this aspect is unfounded. The aim of design is primarily to produce artefacts, to transform them into a natural environment, but also, perhaps even above all, to maintain a balanced relationship between the ecosphere and the “artificial” human world, created and orchestrated for him. It is not just about designing an object, a system, an interaction or relationship that guarantees simplicity and efficiency, that is, a defined utility, but a deeper reflection on how a particular person experiences it and what the consequences this experience brings. Therefore, the purpose of design in this article will be expanded to include an aesthetic aspect, because isolation from the aesthetic criterion (regardless of how we understand it) in contemporary design practices seems to be difficult to maintain.</p> Alicja Głutkowska-Polniak Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/353 nie, 13 gru 2020 00:00:00 +0000 Recenzja książki Anny Józefowicz, Obrazy dzieciństwa w polskiej prozie dziecięcej XXI wieku. W poszukiwaniu kontekstów edukacyjnych, Wydawnictwo Uniwersytetu w Białymstoku, Białystok 2020, ss. 518. https://aic.apsl.edu.pl/index.php/1/article/view/354 <p>I am reviewing the monograph by Anna Józefowicz. <em>Images of childhood in Polish children's prose of the 21st century. In search of educational contexts </em>(2020). The publication consists of an introduction, 12 chapters, ending and bibliography. The author made the latest prose addressed to primary school pupils at the 1st and 2nd stage of education the source of the analyzes. For analysis and interpretation author chose over 140 book. The research conducted by the author was qualitative and interdisciplinary.</p> Urszula Chęcińska Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/354 nie, 13 gru 2020 00:00:00 +0000 Коменда Ольга Іванівна: Універсальна творча особистість в українській музичній культурі [Twórcza uniwersalna osobowość w ukraińskiej kulturze muzycznej] (Національна музична академія України імені п. І. Чайковського Kijów 2020) https://aic.apsl.edu.pl/index.php/1/article/view/355 <p>The main theme of the reviewed work is an attempt to define the concept of active universalism of the creative personality based on the available literature in the field of many sciences, its characteristics in the confrontation with the achievements mainly in the field of psychology, historically oriented culturology and musicology.</p> <p>The most important issue is to present the richness of Ukrainian musical culture, ranging from representatives of its national canon (Mykola Lysenko) to contemporary composers, most of whom are attention was paid to Oleksandr Kozarenko.</p> Jarosław Chaciński Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/355 nie, 13 gru 2020 00:00:00 +0000 Noty o autorach https://aic.apsl.edu.pl/index.php/1/article/view/356 red. Jarosław Chaciński Copyright (c) 2020 ARS INTER CULTURAS https://creativecommons.org/licenses/by-nc-nd/4.0 https://aic.apsl.edu.pl/index.php/1/article/view/356 nie, 13 gru 2020 00:00:00 +0000