Chandeliers with serpent arms held at the National Museum of Lithuania and the Lithuanian Art Museum are among the earliest found in Lithuania. Previous efforts to find chandeliers of similar décor in Latvia or Poland while collecting material on lighting fixtures in Lithuania and the neighbouring countries were unsuccessful. Due to that reason, it was thought that the spread of these chandeliers of extraordinary décor was limited to the territory of Lithuania. A closer and more thorough look into collections of Western European museums has revealed that the motif of an elegantly coiled snake on chandelier arms should be related to Hans Rogiers, a founder who worked in Amsterdam in 1598–1638.
In the article, the origin of chandeliers with serpent arms in Western Europe and the ways they could have possibly reached Lithuania are traced back for the first time. Specimens that survived or did not survive in Lithuania, their development and problems of dating are analysed. Their functioning space is explored and the subject of their symbolism is addressed. The article aims to present and evaluate the surviving chandeliers with serpent arms in Lithuania. In the research, instruments of formal, comparative, iconographic, and reconstructive analysis were used.
Theatre as living art, the central purpose of which is life, existence, that is, that can perceive matter as a set of images, a meeting point of the spirit with matter, enters the realm of memory, when it requires precise indications necessary for the scenic representation. Memory is a living organism, it is the warm fire of preparing theatre. We perceive Hamlet acting on stage because we remember that perception. Hamlet – the one that we will see in a few years, in a completely different time, in another geography, will be perceived, criticized, understood, by evoking the memories that have survived or have been adapted, transformed, reinterpreted. The memory facilitates the meeting between the actor and the character, the memory facilitates the meeting between the director and the text, between the director and the concept, the memory brings the playwright face to face with his work. In the The Misunderstanding, Albert Camus imagines psychological dimensions where memory plays the role of central mechanism. We are face to face with the absurd man, who through the awareness of death and crime meets his truth, but at the same time we discover a dissociation of the characters that, despite their rigidity and coldness, maintain the appearance of a structural and functional fluidity. The dialogue has the resonance of a frequency that vibrates from the river of collective memory. The individual memory has split and is to be absorbed by another memory, one of the theatre, a universal memory, a memory of a theatre that was born from memory.
, particularly his book The Benedict Option ( Dreher, 2017 ). Dreher also tries to popularize his ideas in his regular blog in “The American Conservative” and in articles in liberal media like “The New York Times.”
A good illustration of his ideas can be found in his article “What Must Survive a Corrupt Catholic Church,” published in The New York Times ( Dreher, 2018 ). It is a good illustration of Dreher’s conservative ideology. First of all, he mentions why he converted to Catholicism as a young man: “When I converted to Catholicism in my 20s, I seized my faith like a
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Světlana Hanušová, Michaela Píšová and Tomáš Kohoutek
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Agnieszka Szczepańska CDFMR and Katarzyna Pietrzyk CDFPMR
Author : W. Wójcik
The Old Town is the historic core of Morąg, and its boundaries correspond to the town’s boundaries in the mid 18 th century (buildings depicted in the town map of 1754 have survived to this day, Abridged Historical and Urban Case Study. Conservation Guidelines and Recommendations for the town of Morąg, 1993). In the east, the Old Town is flanked by the remnants of a historical fortified wall, and in the west it overlooks Rozlewisko Morąskie (Morąg Swamp). The historical Town Hall Building is the central point of the analysed district. The
much more interested in the nuances of what makes life liveable (and mournable). Her idea of the “precarious body”, in this sense, is cultural and political —focused on the things we do to survive, the performances we give so as to adhere to the social protocols of race, sexuality, ethnicity and ability. Agamben’s arguments about “bare life”, by contrast, are legal —his interests are driven by a will to critique and overcome the law and its function within the sovereign state. See Judith Butler, Precarious Life: The Powers of Mourning and Violence . New York
Art movements don’t end up at a precise moment, but they can survive over the decades in different ways, even if they could be considered out of date. Today, we live in the post-human or the post-digitalized era, but here and now we also recognize marks or processes derived from the art of the ‘80s. What are postmodernism’s shadows that have been shaping recent years’ performances and how does Romanian theatre directing look like, seen against the bigger drama background in or within our European continent – those are the two main questions to which our study tries to find potential answers. Given that we don’t want to lose ourselves into various theatre productions, we have chosen to verify this with an ageless play – Hamlet. How do they (still) look like and what do they hide again, the new profiles of the prince who speaks to us about the death of sleep’s dreams – those are the questions depicted from the hyper-technological identities of Hamlet ex machina.
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