http://hdl.handle.net/11320/10782 Mon, 15 Jun 2026 01:24:57 GMT 2026-06-15T01:24:57Z http://hdl.handle.net/11320/10567 Tytuł: Odessa i muzyka. O kilku aspektach twórczości Kiry Muratowej Autorzy: Czerwiński, Grzegorz Abstrakt: The article is devoted to the cinematic works by Kira Muratova, an acclaimed Ukrainian film director, who spent most of her artistic life in Odessa. The author focuses on the place of music in Muratova's films, and in particular, on the musical motifs in her movie The Tuner (Настройщик in Russian): 1. music as a topic of conversations of the protagonists; 2. music in the foreground of the soundtrack; 3. music as a background for dialogues; 4. rhythmicity and musicality of dialogues; 5. musical instruments as elements of the interior at the movie set. In addition, the author discusses music in Muratova's films in terms of surrealism and anthropology. Tue, 01 Jan 2019 00:00:00 GMT http://hdl.handle.net/11320/10567 2019-01-01T00:00:00Z http://hdl.handle.net/11320/10566 Tytuł: Muzyka w Fauście A. E. F. Klingemanna w przekładzie księcia Edwarda Lubomirskiego Autorzy: Zabielski, Łukasz Abstrakt: The author discusses Edward Lubomirski's translation of Faust by A. E. F. Klingemann, published in 1819. The original play by the German playwright from Braunschweig features musical motifs and artistic techniques used in the opera and in magical drama. The translator made use of this play to present an original concept of Polish national art. Notably, Lubomirski's proposals appeared three years before the publication of the first part of Adam Mickiewicz's Dziady [Forefathers' Eve]. Tue, 01 Jan 2019 00:00:00 GMT http://hdl.handle.net/11320/10566 2019-01-01T00:00:00Z http://hdl.handle.net/11320/10565 Tytuł: «Жизнь и творчество композитора Фолтына»: загадка последнего романа Карела Чапека Autorzy: Chernoivanenko, Ievgen Abstrakt: Karel Čapek`s novels of the 30-ies have been always an enigma for the theorists of literature and readers. They are undoubtedly great according to the artistic standard. It can be proved by the fact that Čapek, especially his novels, were proposed to take part in the Nobel Prize of 1936 by the number of famous European writers. By the way, it is a mystery why Čapek was writing those novels exactly at that time. Why in early 30-ies, during the period of social, economical and political challenges in Czechoslovakia did he write his “philosophical trilogy” “ Hordubal”, “Meteor”, “An Ordinary Life”, considering in it mainly absolutely philosophical problem if a person can really get to know and understand another person? Why four years before the beginning of the Second World War, when nothing had predicted a future world catastrophe did he started to write the gloomiest his dystopia – the novel “War with the Newts”? Still, probably, the most paradoxical was considered to be his last novel “Life and Work of the Composer Foltyn”, which he didn`t finish. The article states that for Čapek the reason of creative failures and different social conflicts is deviation of ethical canon. He always thought that relationship between classes, nations, states and religions is not unequal to the relationship between ordinary people as it had to be based on respect to the others, ability to try to hear and understand another person, on the ethical moral canon and humanism. No matter what is the occupation of the person – music as Foltyn`s or politics – this occupation couldn`t be based on selfishness, falseness and demagogy. Actually, because of them a person can be on the roll for some time but the failure is inevitable – both for a musician and a politician. Tue, 01 Jan 2019 00:00:00 GMT http://hdl.handle.net/11320/10565 2019-01-01T00:00:00Z http://hdl.handle.net/11320/10564 Tytuł: Культурологические аспекты литературно-музыкального сотрудн и сотрудничества Андруховича и группы «Карбидо» Autorzy: Nechytaliuk, Iryna Abstrakt: This article is devoted to the study of interaction between literature and music, Polish and Ukrainian cultural habitat, analysis of artistic and musical experience which had embodied itself in a specific form, this is about the creative work of Polish/Ukrainian experimental music band „Karbido”. The history of cooperation between Yuriy Andruhovich and „Karbido” is considered in great detail. The year 2015 was a starting point of the band’s creation. In years of their cooperation 4 albums were made („Samogon”, „Cinamon”, „Absinthe”, „Atlas Estermo”), dozens of concerts were played. „Samogon” and „Citamon” exist in two variations – Ukrainian and Polish. „Absinthe” mostly consists of Ukrainian texts. The style of their music can’t be described in one particular way – it’s a mix of ethnic jazz, vanguard rock, ironical/satirical melodeclamation. An unconditional feature of this project is the fact that the text’s author has his own right to accentuate, furthermore articulation of poetry is a visualization of art. An aptitude to visualization on the one hand and articulation on the other is a distinctive phenomenon of modern culture. It is proven that the interaction between Yuri Andruhovich and Polish musicians has pushed both sides to new experiments and to creating multimedial visions at the meeting point of poetry, prose and movies, audio performances. That’s why Yuriy Andruhovich is one of the most active artists of literary and musical performance. In early 2000 Yuri Andruhovich’s performances „Pereversia” and „Albert or the highest degree of execution” had great effect on Ukraine’s culture. Tue, 01 Jan 2019 00:00:00 GMT http://hdl.handle.net/11320/10564 2019-01-01T00:00:00Z