Culture Crossroads最新文献

{"title":"SPACE, TIME AND FUNCTION. GÓRA CHEŁMSKA NEAR KOSZALIN IN THE MIDDLE AGES","authors":"A. Kuczkowski","doi":"10.55877/cc.vol5.218","DOIUrl":"https://doi.org/10.55877/cc.vol5.218","url":null,"abstract":"It is not an object connected with the sacred, but above all the context (na tu -ral and cultural) in which it is found that proves the existence of a space of religious practice. An object deemed a regular, everyday item may once havebeen an element of sacred imagery. Features revealed by archaeological exca-vation may be approached in the same manner. Each of these studied sepa-rately can be regarded as, say, a storage pit, the remains of a house, etc. At thesame time, when related to the general surroundings, a single find may turnout to be part of a greater whole with a clear meaning. Its sacredness is not lim-ited to its form, but corresponds to the sum of all meanings included in it (i.e.its content).","PeriodicalId":333506,"journal":{"name":"Culture Crossroads","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124726397","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"LITERARY CINEMATOGRAPHIC STYLE AND THE BIBLICAL MOTIFS IN THE NOVEL “THE VOICE OF THE CALLER” BY ALBERTS BEL","authors":"Jūlija Dibovska","doi":"10.55877/cc.vol6.258","DOIUrl":"https://doi.org/10.55877/cc.vol6.258","url":null,"abstract":"Alberts Bels’ novels have occupied a remaining place in the history of Latvian literature and these texts continue to fascinate us with their polyphony. One of the aspects why Bels’ novels do not lose their topicality is the fact that the writer has indulged in archetypical thinking – neo-mythicism, specifically, use of biblical personages, images andmotifs in the subtext and in the direct substantiation for the plot. Another aspect of intertextuality that turns Bels’ texts into exciting, visually and even audio-visually perceivable literature is represented by the elements of cinematographic style. The layers of Bels’ novels reveal a firmnetwork that provide innovative revelations about the multidimensional ideas of his literary works by remaining within the framework of a certain artistic system.","PeriodicalId":333506,"journal":{"name":"Culture Crossroads","volume":"338 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114725777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"METONYMIES AND METAPHORS: IMAGES OF THE SEAT BELT AND NUMBER PLATE","authors":"Elīna Veinberga","doi":"10.55877/cc.vol7.246","DOIUrl":"https://doi.org/10.55877/cc.vol7.246","url":null,"abstract":"Cognitive linguists argue that many metaphors have a metonymic basis, and frequently it is not easy to tell them apart [see Gibbs [1994] 2002: 449–451, Barcelona 2003: 8–12, Semino 2008: 20]. The aim of this article is to examine this claim on the material of advertisements in Latvian. The paper gives an insight into the history of seat belt development and analyses particular instances in advertising and other visual material, and their stylistic development in discourse. Development means not only interaction of the image with the text (visual and verbal) and its interpretation in one context, but also cases of use when the image exceeds the borders of one advertisement and is employed in several advertisements either in the same (discoursal use), or another advertising campaign (interdiscoursal use). My aim is to establish whether metonymic images are sustainable and whether they can be used for other purposes by employing allusion to the original advertisements. When analysing the material of social campaigns, it is important to reveal the development of figurative thought in verbal and visual discourse in order to reveal the role of metonymy in thinking and conceptualisation of human experience.","PeriodicalId":333506,"journal":{"name":"Culture Crossroads","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114975596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"MĪLA CĪRULE: A LATVIAN IN THE WORLD OF MODERN DANCE","authors":"Valda Vidzemniece","doi":"10.55877/cc.vol7.240","DOIUrl":"https://doi.org/10.55877/cc.vol7.240","url":null,"abstract":"Mīla Cīrule (1891–1977) is one of the first Latvian dancers who went in for the genre of modern dance at the beginning of the 20th century. At the end of the 1920s the dancer earned her recognition in Germany and Austria, and her name was mentioned among the most striking modern dance choreographers in France in the 1930s; her contribution to teaching dance was also appreciated. Mīla Cīrule is the first Latvian dancer who has become internationally renowned in the field of modern dance. The aim of this research is to follow the development path of Mīla Cīrule’s creative work by gathering information and analysing artistic influences which have created the unusual creative personality aspects of the dancer. Mīla Cīrule was born in Riga; however, she started her dance career in Russia in Ellen Tels’ (Эллен Тельс) school. This school followed Isadora Duncan’s artistic criteria in their creative principles. In parallel with acquisition of free dance, the young dancer attended classical dance classes at soloist Mikhail Mordkin’s (Михаил Михайлович Мордкин) school of the Moscow Bolshoi Theatre (Большой театр). After meeting Mary Wigman and studying the philosophy of German expressionist dance, Mīla Cīrule rethought the principles and expressive means of her art; she refused unnecessary ostentation, and sought an individual way of expression. “Mīla Cīrule’s choreographies are high quality works of art which speak volumes about the choreographer’s rich world of ideas and a good sense of form, while her dance technique is always perfectly adapted to the contents of the staging production” [Dārziņš 1938]. In her staging productions Mīla Cīrule combined an expressive style with very well-considered and precise principles of form creation. In her creative work the brave reliance upon instinctively found movements of the Wigman School always complied with a strict sense of drama structure and subtlety of details that had been acquired from Ellen Tels’ aesthetics of the pantomimic staging productions. As an original and extraordinary personality, Mīla Cīrule is not similar to any artist of her time in her creative work. She adopted and accumulated everything she had learned at many dance schools, and she passed it through the prism of her personality.","PeriodicalId":333506,"journal":{"name":"Culture Crossroads","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124800992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"MYTHOLOGICAL, HOLY OR CULT PLACES?","authors":"Vykintas Vaitkevicius","doi":"10.55877/cc.vol5.222","DOIUrl":"https://doi.org/10.55877/cc.vol5.222","url":null,"abstract":"The question of the naturalness of natural holy places raised by Prof. J. Urtāns has attracted the attention of researchers and has recently become part of international discussion. There are at least two aspects to discuss. The first relates to language (namely to the translation of native terms into English for common use); the second touches on the concept of the natural holy place. Since nature is the usual setting for holy places of pre-Christian origin and the shape of these objects is mainly natural, the English term natural holy place seems to be relevant and appropriate for international use. The second section of the article provides an example of how complicated the understanding of natural holy places can be. Single stones and groups of stones discovered during an expedition along the River Neris in 2007 are briefly presented. The author is aware that all the stones possessing proper names have a certain meaning and play a particular role in the culture. There are definitely natural holy places among them, but an exact definition of the subject is hard to produce. It is clear that the matter of the concept of the English term natural holy places as applied to the Eastern Baltic is not resolved and should be raised in the broader international context.","PeriodicalId":333506,"journal":{"name":"Culture Crossroads","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127209055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE CONNECTION OF MYTHOLOGICAL STONES TO DEITIES OF THE EARTH AND LOWER WORLD, AND THEIR PLACE IN THE SACRED LANDSCAPE","authors":"J. Cepītis, Lilija Jakubenoka","doi":"10.55877/cc.vol5.215","DOIUrl":"https://doi.org/10.55877/cc.vol5.215","url":null,"abstract":"The earth and the mythical beings of lower spheres connected with it relate to stones in the Latvian mythical landscape. These stones are connected with basic Indo-European myth, involving conflict between the celestial and chthonic deities, or with a syncretic interpretation of the myth, where pagan and Chris- tian strata have mixed. The folk-tale motifs connected with all of these are varied. Some motifs, for example, about the Devil making men sleep on the stones, are emphasized for the first time in this study. The connection between stones and the cult of dead is also identified. A stone is considered a boundary between this world and the next, and as one of the points of reference in the natural world where the souls of those who had died an untimely death found shelter. In the mythical land- scape it is possible to observe the connection between a stone and other natural objects, particularly mythical waters, as well as features of Man’s cultural space, such as hill-forts and burial sites.","PeriodicalId":333506,"journal":{"name":"Culture Crossroads","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122203296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ABOUT THE NEED TO USE THE NOTIONS “HERITOLOGY” AND “MNEMOSOPHY” IN THE TERMINOLOGY OF MUSEUMS","authors":"Ilze Knoka","doi":"10.55877/cc.vol6.255","DOIUrl":"https://doi.org/10.55877/cc.vol6.255","url":null,"abstract":"Over a period of three decades the Croatian museologist Tomis- lav Šola has offered two neologisms to denote the sector of museums and heri- tage and their respective theory: heritology andmnemosophy. The new terms characterise Šola’s interpretation and priority issues of the sector in their own way, at the same time they arouse theoretical discussions about the borders of the sector and the need to address the theory of heritage from a wider per- spective than it is applied in practice. In accordance with Šola’s critical atti- tude towards the sector and people working in this sector, the implementation of neologisms in practice encounters mistrust and doubt of professionals working in the area of heritage. This article discloses the origin of these terms, their contribution to the sector ’s theoretical basis and the reasons for their slow inclusion in the dictionary of the sector.","PeriodicalId":333506,"journal":{"name":"Culture Crossroads","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133564676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"CULTURAL CANON AS A CULTURAL POLICY PROGRAMME: POLITICAL AND IDEOLOGICAL PRECONDITIONS AND PERSPECTIVES OF ITS DEVELOPMENT","authors":"Anda Laķe, Juris Goldmanis","doi":"10.55877/cc.vol6.265","DOIUrl":"https://doi.org/10.55877/cc.vol6.265","url":null,"abstract":"This article provides a comparative analysis of the initiative of cultural policy implemented in three countries of the European Union (the Netherlands, Denmark and Latvia) and the term “cultural canon” that is used to characterise it. As the substantiation, objectives, functions and results of the cultural canon as a state-financed programme of cultural policy essentially differ in all the above countries, there is a ground for discussions about the preconditions for the sustainable development of this programme. The main objective of this article is to reveal the significance of political and ideological factors of the cultural canon in the development of cultural policy and the choice of scenarios in the future. In order to reach this objective, the theoretical understanding of the notion “cultural canon” has been analysed and its link with the values of a certain political ideology. A comparative analysis and assessment of the development of cultural canons in theNetherlands, Denmark and Latvia have been carried out by applying data of empirical research that is based on qualitative methodology. The article explores the development scenarios for the cultural canon that would bemost appropriate for the political- ideological context of Latvia. The theoretical basis of this article lies in various investigations that evaluate the cultural canon as substantiation for ideological paradigms in the cultural policy by paying special attention to works of those authors who have analysed the expression of ideological doctrines of nationalism and multiculturalism in culture (Willem Frijhoff, Peter Duelund, Monique Kremer, Will Kymlicka). The conclusions of this article are based on the theoretical and empirical research; they serve as arguments andproof for the thesis that consistent political and ideological support for the initiatives of the cultural canon is considered to be the main factor that influences the development of the programme and sustainability.","PeriodicalId":333506,"journal":{"name":"Culture Crossroads","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133715790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"HOW MANY RADOGOŠČES WERE THERE, OR THE MOST POPULAR TYPES OF SLAVONIC SANCTUARIES","authors":"Edvard Zaikouski","doi":"10.55877/cc.vol5.224","DOIUrl":"https://doi.org/10.55877/cc.vol5.224","url":null,"abstract":"Radogošč (Rethra), situated in the territory of the Lutizen tribal union and described in a number of early medieval written sources (Thietmar of Merse- burg, Adam of Bremen, Helmold), is one of the most famous Slavonic pagan sanctuaries. According to the descriptions, the sanctuary, devoted to the god Radegast-Svarozic, was situated at the shore of a lake and surrounded by a sacred forest. The location of Radogošč is not yet established, although there are over 30 hypotheses as to its location. A total of 40 toponyms related to Radogošč can be found within the settle- ment area of the Slavs – Radegast, Radigošť, Radogošč, Radogošča – from the Elbe and the eastern border of Austria to the upper reaches of the Oka, and from the Baltic Sea to the Middle Danube. There is a group of hydronyms among them, while the Czechs have an ancient tradition of celebrating the summer solstice on Mount Radigošť in Moravia. Excavation of the Radahoshcha settlement outside Navahrudak, Belarus, indicates that it belonged to a Slavonic population with a culture similar to that of the Luka Raikovetskaia Culture (8th–10th century) and must have been used as a sanctuary (distinctive exterior features, long houses, the location of a cultural stratum in a narrow belt along the edge of the site). Finds of the late 1st millennium have also been made at other monuments with analogous names. The geographical position of such toponyms coincides with the area of the Prague Culture and the descendants of this population, as well as with that of the Sukovo-Dzedzin and Feldberg Cultures. In spite of the fact that written sources fail to specify the functions of the god Radegast-Svarozic, they can be reconstructed on the basis of a compre- hensive analysis. He was the head of the pantheon in societies with theocratic and popular assembly systems, connected with the cults of the sun and water. Apart from this, he had magic and military functions. The excavations at the Radahoshcha settlement in Belarus indicate that places bearing similar names are promising indicators in the search for the remains of pagan sanctuaries.","PeriodicalId":333506,"journal":{"name":"Culture Crossroads","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126750698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PRINCIPLES OF ACTING AT THE DAILE THEATRE AND MODERNISM (1920s–1930s): FELICITA ERTNERE’S CONTRIBUTION TO THE DEVELOPMENT OF MOVEMENT LANGUAGE","authors":"Ieva Rodiņa","doi":"10.55877/cc.vol7.239","DOIUrl":"https://doi.org/10.55877/cc.vol7.239","url":null,"abstract":"The Daile Theatre, founded by Eduards Smiļģis in 1920, is related to the creative experiments of the greatest modernist theatre directors of Western Europe and Russia. The theatre movement consultant Felicita Ertnere (1891–1975) contributed substantially to the creation of a particular movement language for the artistically original languages of the Daile Theatre. She also contributed to the creation and development of the principles of acting for the Daile Theatre. Education that Ertnere had acquired in Saint Petersburg and her knowledge about modernism movement theories and methods of her time were very important in the creation of movement language characteristic of the Daile Theatre. There are two main sources of influence for Ertnere: (1) the physical method of training created by Peter Lesgaft (Пётр Лесгафт) based on the theory on the human body and mind as a unified system, and the view that understanding of human anatomy is essential alongside with training the physical body; it is also essential to control your body with the help of your mind; (2) Western European theories of movement which appeared in the first half of the 20th century: eurhythmics created by Emile Jaques-Dalcroze and the language of gestures created by François Delsarte. In 1924 the Daile Theatre, as they had a demand for a new type of actors, founded a three-year course or school whose aim was to “prepare actors for the Daile Theatre who would systematically and methodically acquire the necessary technique in order to raise the artistic level of the Daile Theatre.” Ertnere contributed to the creation of the Daile Theatre movement language by delivering practical classes and by closely working together with Eduards Smiļģis on the movement script for Daile Theatre performances created by Eduards Smiļģis that was called innovative and compared to European and Russian modernist theatre practice by critics of the time.","PeriodicalId":333506,"journal":{"name":"Culture Crossroads","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122873166","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}