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    ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π° / Musicology (34 I/2023)

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    ОбСлСТавањС ΠΏΠΎΠ»Π° Π²Π΅ΠΊΠ° ΠΎΠ΄ ΠΊΠ°Π΄Π° јС ΠΏΡ€Π΅ΠΌΠΈΠ½ΡƒΠΎ Π˜Π³ΠΎΡ€ Бтравински (1882–1971) ΠΏΡ€ΠΎΡ‚Π΅ΠΊΠ»ΠΎ јС Ρƒ сСнци пандСмијС ΠΊΠΎΠ²ΠΈΠ΄Π°, ΠΏΠ° сС Π½Π°ΡƒΡ‡Π½ΠΎ Ρ€Π°Π·ΠΌΠ°Ρ‚Ρ€Π°ΡšΠ΅ подстакнуто Ρ‚ΠΎΠΌ Π³ΠΎΠ΄ΠΈΡˆΡšΠΈΡ†ΠΎΠΌ ΠΏΡ€ΠΎΠ΄ΡƒΠΆΠΈΠ»ΠΎ. Π’Π°ΠΊΠΎ сС ΡšΠ΅ΠΌΡƒ ΠΏΡ€ΠΈΠ΄Ρ€ΡƒΠΆΡƒΡ˜Π΅ ΠΈ Π“Π»Π°Π²Π½Π° Ρ‚Π΅ΠΌΠ° Ρƒ Π½ΠΎΠ²ΠΎΠΌ Π±Ρ€ΠΎΡ˜Ρƒ ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π΅ (34), с Π½ΠΈΠ·ΠΎΠΌ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π° посвСћСних Бтравинском, којС ΠΏΠΎΡ‚ΠΈΡ‡Ρƒ ΠΈΠ· излагања Π½Π° Π‘Ρ‚ΡƒΠ΄ΠΈΡ˜ΡΠΊΠΎΠΌ Π΄Π°Π½Ρƒ ΠΎΡ€Π³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π½ΠΎΠΌ 2021. Π³ΠΎΠ΄ΠΈΠ½Π΅ Π½Π° ΠžΠ΄ΡΠ΅ΠΊΡƒ Π·Π° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ Националног ΠΈ ΠšΠ°ΠΏΠΎΠ΄ΠΈΡΡ‚Ρ€ΠΈΡ˜Π°ΡΠΎΠ²ΠΎΠ³ ΡƒΠ½ΠΈΠ²Π΅Ρ€Π·ΠΈΡ‚Π΅Ρ‚Π° Ρƒ Атини. ЗаступљСнС Ρ‚Π΅ΠΌΠ΅ ΠΏΠΎΠΊΡ€ΠΈΠ²Π°Ρ˜Ρƒ ΡˆΠΈΡ€ΠΎΠΊ спСктар ΠΏΡ€ΠΎΠ±Π»Π΅ΠΌΠ°Ρ‚ΠΈΠΊΠ΅ Ρƒ Π²Π΅Π·ΠΈ са свим Ρ‚Ρ€ΠΈΠΌΠ° Ρ„Π°Π·Π°ΠΌΠ° ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²Π° Бтравинског (руска, нСокласична ΠΈ ΡΠ΅Ρ€ΠΈΡ˜Π°Π»Π½Π°), ΡƒΠΊΡ™ΡƒΡ‡ΡƒΡ˜ΡƒΡ›ΠΈ ΠΏΡ€ΠΈ Ρ‚ΠΎΠΌΠ΅ ΠΈ ΠΏΠΈΡ‚Π°ΡšΠ° СстСтикС, ΠΊΠ°ΠΎ ΠΈ ΡƒΡ‚ΠΈΡ†Π°Ρ˜Π° ΠΈ Ρ€Π΅Ρ†Π΅ΠΏΡ†ΠΈΡ˜Π΅ њСговог Π΄Π΅Π»Π°. Бтаматис Зохиос ΠΈΠ·Π½ΠΎΠ²Π° ΠΎΡ‚Π²Π°Ρ€Π° ΠΏΠΈΡ‚Π°ΡšΠ΅ Π²Π΅Π·Π΅ Бтравинског с руским Ρ„ΠΎΠ»ΠΊΠ»ΠΎΡ€ΠΎΠΌ, ΠΊΠΎΠ½Ρ‚Π΅ΠΊΡΡ‚ΡƒΠ°Π»ΠΈΠ·ΡƒΡ˜ΡƒΡ›ΠΈ Π΄Π΅Π»Π° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° ΠΈΠ· Ρ‚Π°ΠΊΠΎΠ·Π²Π°Π½ΠΎΠ³ β€žΡ€ΡƒΡΠΊΠΎΠ³β€ ΠΏΠ΅Ρ€ΠΈΠΎΠ΄Π° с Ρ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†Π°ΠΌΠ° Π½Π° ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜Π°Ρ‚ рускС фолклористикС. Зохиос Π·Π°ΠΊΡ™ΡƒΡ‡ΡƒΡ˜Π΅ Π΄Π° јС Бтравински ΠΏΡ€Π°Ρ‚ΠΈΠΎ ΠΏΡƒΡ‚ ΡΠ²ΠΎΡ˜ΠΈΡ… ΠΏΡ€Π΅Ρ‚Ρ…ΠΎΠ΄Π½ΠΈΠΊΠ° ΠΈΠ· 19. Π²Π΅ΠΊΠ° (Π“Π»ΠΈΠ½ΠΊΠ° ΠΈ ΠŸΠ΅Ρ‚ΠΎΡ€ΠΈΡ†Π°) Ρƒ ΡƒΠΏΠΎΡ‚Ρ€Π΅Π±ΠΈ Ρ„ΠΎΠ»ΠΊΠ»ΠΎΡ€Π½ΠΈΡ… ΠΈΠ·Π²ΠΎΡ€Π° Π·Π° својС ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π΅, Π°Π»ΠΈ, Π·Π° Ρ€Π°Π·Π»ΠΈΠΊΡƒ ΠΎΠ΄ ΡšΠΈΡ…, нијС користио ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ Π½Π°ΡΡ‚Π°Ρ˜Π°Π»Π΅ Ρƒ њСговом Π²Ρ€Π΅ΠΌΠ΅Π½Ρƒ; стога, нијС сС упустио Ρƒ СкстСнзивну ΠΈ дубинску ΠΏΡ€Π΅Ρ‚Ρ€Π°Π³Ρƒ ΠΏΠΎΡΡ‚ΠΎΡ˜Π΅Ρ›ΠΈΡ… ΠΈΠ·Π²ΠΎΡ€Π° ΠΎ руском Ρ„ΠΎΠ»ΠΊΠ»ΠΎΡ€Ρƒ, Π²Π΅Ρ› сС умСсто Ρ‚ΠΎΠ³Π° ослањао Π½Π° ΠΏΡ€ΠΎΠ²Π΅Ρ€Π΅Π½Π΅ ΠΈΠ·Π²ΠΎΡ€Π΅ ΠΈ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ ΠΈΠ· 19. Π²Π΅ΠΊΠ°. Π§Π»Π°Π½Π°ΠΊ Ивана ΠœΡƒΠ΄ΠΈΡ˜Π° освСтљава Π΄Π΅ΠΎ ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²Π° Бтравинског с фокусом Π½Π° њСгова Π΄ΡƒΡ…ΠΎΠ²Π½Π° Π΄Π΅Π»Π° ΠΈΠ· пСрспСктивС њСговог познавања Ρ„ΠΈΠ»ΠΎΠ·ΠΎΡ„ΠΈΡ˜Π΅ Π–Π°ΠΊΠ° ΠœΠ°Ρ€ΠΈΡ‚Π΅Π½Π°, Π° Ρƒ контСксту филозофских потрСса Ρƒ ΠΌΠ΅Ρ’ΡƒΡ€Π°Ρ‚Π½ΠΎΡ˜ Π€Ρ€Π°Π½Ρ†ΡƒΡΠΊΠΎΡ˜. ΠœΡƒΠ΄ΠΈ ΠΎΠ±Ρ€Π°Ρ›Π° посСбну ΠΏΠ°ΠΆΡšΡƒ Π½Π° Ρ‚ΠΎ ΠΊΠ°ΠΊΠΎ Бтравински ΠΈΠ½Ρ‚Π΅Ρ€ΠΏΡ€Π΅Ρ‚ΠΈΡ€Π° ΠœΠ°Ρ€ΠΈΡ‚Π΅Π½ΠΎΠ²Ρƒ ΠΈΠ΄Π΅Ρ˜Ρƒ homo faber-a, β€žΡ‡ΠΎΠ²Π΅ΠΊΠ°-творца”. Π˜ΡΡ‚ΠΎΠ²Ρ€Π΅ΠΌΠ΅Π½ΠΎ, ΠΎΠ½ Π½Π΅ Π·Π°Π½Π΅ΠΌΠ°Ρ€ΡƒΡ˜Π΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€ΠΎΠ²ΠΎ руско ΠΏΠΎΡ€Π΅ΠΊΠ»ΠΎ, Π·Π°ΠΊΡ™ΡƒΡ‡ΡƒΡ˜ΡƒΡ›ΠΈ Π΄Π° су Π΄Π΅Π»Π° која су ΠΎΠ²Π΄Π΅ саглСдавана јСднако ΡƒΡ‚Π΅ΠΌΠ΅Ρ™Π΅Π½Π° Ρƒ руском ΠΏΠΎΡ€Π΅ΠΊΠ»Ρƒ Бтравинског ΠΊΠ°ΠΎ ΠΈ Ρƒ њСговим искуствима Π½Π° Π—Π°ΠΏΠ°Π΄Ρƒ. ΠšΠ°Ρ‚Π΅Ρ€ΠΈΠ½Π° Π›Π΅Π²ΠΈΠ΄Ρƒ дајС Π½ΠΎΠ²ΠΈ ΠΏΠΎΠ³Π»Π΅Π΄ Π½Π° ΠŸΠΎΠ΅Ρ‚ΠΈΠΊΡƒ ΠΌΡƒΠ·ΠΈΠΊΠ΅, Π° Π½Π°Ρ€ΠΎΡ‡ΠΈΡ‚ΠΎ Π½Π° ΠΏΠΈΡ‚Π°ΡšΠ΅ доприноса ΠŸΡ˜Π΅Ρ€Π° Бувчинског ΠΎΠ²ΠΎΠΌ ΠΏΠΎΠ΄ΡƒΡ…Π²Π°Ρ‚Ρƒ. ЊСно ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ΅ ΠΊΡ€Π΅Ρ›Π΅ сС ΠΈΠ·Π²Π°Π½ ΠΎΡ‡Π΅ΠΊΠΈΠ²Π°Π½ΠΈΡ… мСста Π·Π° ΠΏΠΎΡΠΌΠ°Ρ‚Ρ€Π°ΡšΠ΅, односно ΠΈΠ·Π²Π°Π½ ΠΏΠ΅Ρ‚ΠΎΠ³ ΠΏΠΎΠ³Π»Π°Π²Ρ™Π° (којС јС написао Бувчински) ΠΈ Π΄ΠΎΠ±Ρ€ΠΎ ΠΏΠΎΠ·Π½Π°Ρ‚Π΅ Ρ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†Π΅ ΠΊΠ° идСјама Бувчинског ΠΎ ΠΌΡƒΠ·ΠΈΡ†ΠΈ ΠΈ Π²Ρ€Π΅ΠΌΠ΅Π½Ρƒ. На Ρ‚Π°Ρ˜ Π½Π°Ρ‡ΠΈΠ½ Ρ›Π΅ ΠŸΠΎΠ΅Ρ‚ΠΈΠΊΠ° ΠΈΠ½Ρ‚Ρ€ΠΈΠ³Π°Π½Ρ‚Π½ΠΎ постати најмањС ΠΎΡ‡Π΅ΠΊΠΈΠ²Π°Π½Π° ΠΏΠ»Π°Ρ‚Ρ„ΠΎΡ€ΠΌΠ° Π·Π° ΠΏΡ€Π΅Π·Π΅Π½Ρ‚Π°Ρ†ΠΈΡ˜Ρƒ ΠΈ Π΄ΠΈΡΠ΅ΠΌΠΈΠ½Π°Ρ†ΠΈΡ˜Ρƒ ΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π° ΠΏΠΎΠ²Π΅Π·Π°Π½ΠΈΡ… с ΠΎΠ΄Ρ€Π΅Ρ’Π΅Π½ΠΈΠΌ Π½ΠΈΡ‚ΠΈΠΌΠ° β€žΠ΅Π²Ρ€ΠΎΠ°Π·ΠΈΡ˜ΡΡ‚Π²Π°β€, руског Смигрантског ΠΈΠ½Ρ‚Π΅Π»Π΅ΠΊΡ‚ΡƒΠ°Π»Π½ΠΎΠ³ ΠΈ ΠΏΠΎΠ»ΠΈΡ‚ΠΈΡ‡ΠΊΠΎΠ³ ΠΏΠΎΠΊΡ€Π΅Ρ‚Π°, с којим јС Бувчински Π±ΠΈΠΎ Π±Π»ΠΈΠ·Π°ΠΊ. ΠšΡ€ΠΈΡΡ‚ΠΎΡ„ Π€Π»Π°ΠΌ фокусирао сС Π½Π° касно ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²ΠΎ Бтравинског ΠΈ Ρ€Π°Π·ΠΌΠ°Ρ‚Ρ€Π°ΠΎ Π³Π° ΠΈΠ· пСрспСктивС СкспрСсивности. ΠšΠΎΠ½ΠΊΡ€Π΅Ρ‚Π½ΠΎ, овај Π°ΡƒΡ‚ΠΎΡ€ јС истакао СкспрСсивнС, сСмантичкС ΠΈ ΡΠ°ΠΌΠΎΡ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†ΠΈΡ˜Π°Π»Π½Π΅ димСнзијС Ρƒ касним Π΄Π΅Π»ΠΈΠΌΠ°, којС сС Ρƒ њима ΠΏΠΎΡ˜Π°Π²Ρ™ΡƒΡ˜Ρƒ с Π½Π°Ρ€ΠΎΡ‡ΠΈΡ‚ΠΎΠΌ Ρ˜Π°ΡΠ½ΠΎΡ›ΠΎΠΌ ΠΈ Π΄Π΅Π»ΠΈΠΌΠΈΡ‡Π½ΠΎ ΠΏΡ€ΠΎΡ‚ΠΈΠ²Ρ€Π΅Ρ‡Π΅ ΡƒΠΎΠ±ΠΈΡ‡Π°Ρ˜Π΅Π½ΠΈΠΌ ΠΎΡ†Π΅Π½Π°ΠΌΠ° ΠΎΠ²Π΅ ΠΌΡƒΠ·ΠΈΠΊΠ΅ ΠΊΠ°ΠΎ апстрактнС ΠΈ конструктивистичкС, Π° Ρ‚Π°ΠΊΠΎΡ’Π΅ ΠΈΠ·Π°Π·ΠΈΠ²Π°Ρ˜Ρƒ ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€ΠΎΠ²Π΅ Π»ΠΈΡ‡Π½Π΅ изјавС. Π‘ Ρ‡Π»Π°Π½ΠΊΠΎΠΌ Π•Π΄Π²Π°Ρ€Π΄Π° КСмбСла ΠΎΡΡ‚Π°Ρ˜Π΅ΠΌΠΎ Ρƒ послСратном Π΄ΠΎΠ±Ρƒ, Π°Π»ΠΈ сС фокус ΠΏΠΎΠΌΠ΅Ρ€Π° с Π΄Π΅Π»Π° Бтравинског ΠΏΠΎ сСби Π½Π° ΡƒΡ‚ΠΈΡ†Π°Ρ˜ њСговог Ρ€Π°Π΄Π° Π½Π° Ρ„Ρ€Π°Π½ΠΊΠΎΡ„ΠΎΠ½Ρƒ послСратну Π°Π²Π°Π½Π³Π°Ρ€Π΄Ρƒ, односно Π½Π° ΠŸΡ˜Π΅Ρ€Π° Π‘ΡƒΠ»Π΅Π·Π°, Π–Π°Π½Π° Π‘Π°Ρ€Π°ΠΊΠ°, ΠΠ½Ρ€ΠΈΡ˜Π° ΠŸΡƒΡΠ΅Ρ€Π° ΠΈ МишСла Π€ΠΈΠ»ΠΈΠΏΠΎΠ°. КСмбСлова Π°Π½Π°Π»ΠΈΠ·Π° ΠΈΠ·Π²Π»Π°Ρ‡ΠΈ Π½Π° ΠΏΠΎΠ²Ρ€ΡˆΠΈΠ½Ρƒ ΡƒΡ‚ΠΈΡ†Π°Ρ˜ који јС Бтравински ΠΈΠΌΠ°ΠΎ Π½Π° ΠΎΠ²Π΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π΅ Π½Π° Π½ΠΈΠ²ΠΎΠΈΠΌΠ° Ρ€ΠΈΡ‚ΠΌΠΈΡ‡ΠΊΠ΅ ΠΈΠ½ΠΎΠ²Π°Ρ†ΠΈΡ˜Π΅, ΡƒΠΏΠΎΡ‚Ρ€Π΅Π±Π΅ звучности, Ρ…Π°Ρ€ΠΌΠΎΠ½ΠΈΡ˜Π°, инструмСнталнС бојС, ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ Ρ„ΠΎΡ€ΠΌΠ΅, ΠΊΠ°ΠΎ ΠΈ ΠΏΠΎΠ»Π°Ρ€ΠΈΡ‚Π΅Ρ‚Π° висинС Ρ‚ΠΎΠ½Π°. ПослСдња Π΄Π²Π° Ρ‡Π»Π°Π½ΠΊΠ° ΠΏΡ€ΠΈΠ»Π°Π·Π΅ Ρ€Π°Π΄Ρƒ Бтравинског ΠΈΠ· пСрспСктивС СстСтикС, с Ρ€Π΅Ρ„Π΅Ρ€Π΅Π½Ρ†Π°ΠΌΠ° ΠΊΠ° Ρ„ΠΈΠ»ΠΎΠ·ΠΎΡ„ΠΈΡ˜ΠΈ њСговог саврСмСника, Π₯Π΅Π»ΠΌΡƒΡ‚Π° ΠŸΠ»Π΅ΡΠ½Π΅Ρ€Π°. Јаковос Π¨Ρ‚Π°Ρ˜Π½Ρ…Π°ΡƒΠ΅Ρ€ расправља ΠΎ Π·Π½Π°Ρ‡Π΅ΡšΡƒ тСлСсности ΠΈ плСса Ρƒ ΡΡ‚Π²Π°Ρ€Π°Π»Π°ΡˆΡ‚Π²Ρƒ Бтравинског, ΠΎΠ΄Π»Π°Π·Π΅Ρ›ΠΈ ΠΈΠ·Π²Π°Π½ ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜ΡΠΊΠΈ Π΄ΠΎΠΊΡƒΠΌΠ΅Π½Ρ‚ΠΎΠ²Π°Π½ΠΎΠ³ ΠΈΠ½Ρ‚Π΅Ρ€Π΅ΡΠΎΠ²Π°ΡšΠ° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° Π·Π° балСтску ΠΌΡƒΠ·ΠΈΠΊΡƒ. БалСтска ΠΌΡƒΠ·ΠΈΠΊΠ° Бтравинског, ΠΊΠ°ΠΊΠΎ Π¨Ρ‚Π°Ρ˜Π½Ρ…Π°ΡƒΠ΅Ρ€ ΠΏΠΎΠΊΠ°Π·ΡƒΡ˜Π΅, постиТС ΡΡ‚Π°ΡšΠ΅ β€žΠΏΠΎΡΡ€Π΅Π΄ΠΎΠ²Π°Π½Π΅ нСпосрСдности”, ΠΎΠ΄Ρ€ΠΆΠ°Π²Π°Ρ˜ΡƒΡ›ΠΈ Ρ‚Π°ΠΊΠΎ дистанцу Ρƒ односу Π½Π° ΡΡƒΠ±Ρ˜Π΅ΠΊΡ‚ΠΈΠ²Π½ΠΈ ΠΈΠ·Ρ€Π°Π·, Π±Π΅Π· којСг, ΠΏΠ°ΠΊ, ΠΏΠΎΡΡ‚Π°Ρ˜Π΅ апстрактна. ΠšΠΎΠ½Π°Ρ‡Π½ΠΎ, ΠœΠ°Ρ€ΠΊΠΎΡ ЦСцос Π½ΡƒΠ΄ΠΈ Π½ΠΎΠ²Ρƒ ΠΊΡ€ΠΈΡ‚ΠΈΠΊΡƒ АдорновС ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ΅ Бтравинског, Ρ€Π΅Ρ„Π΅Ρ€ΠΈΡ€Π°Ρ˜ΡƒΡ›ΠΈ Π½Π° ΠŸΠ»Π΅ΡΠ½Π΅Ρ€ΠΎΠ²Ρƒ филозофску Π°Π½Ρ‚Ρ€ΠΎΠΏΠΎΠ»ΠΎΠ³ΠΈΡ˜Ρƒ. Он, стога, ΠΈΠ·Π°Π·ΠΈΠ²Π° АдорновС ΠΏΠΎΠ³Π»Π΅Π΄Π΅ који Бтравинског ΡΠ²Ρ€ΡΡ‚Π°Π²Π°Ρ˜Ρƒ Ρƒ Π½Π΅Ρ…ΡƒΠΌΠ°Π½Π΅ ΠΈ ΠΏΡ€ΠΈΠΌΠΈΡ‚ΠΈΠ²Π½Π΅, ΠΏΠΎΠΊΠ°Π·ΡƒΡ˜ΡƒΡ›ΠΈ умСсто Ρ‚ΠΎΠ³Π° Π΄Π° њСгова ΠΌΡƒΠ·ΠΈΠΊΠ° достиТС, Ρƒ ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜ΡΠΊΠΈ Π°Π΄Π΅ΠΊΠ²Π°Ρ‚Π½ΠΈΠΌ ΠΌΠΎΠ΄Π΅Ρ€Π½ΠΈΠΌ Ρ‚Π΅Ρ€ΠΌΠΈΠ½ΠΈΠΌΠ°, конститутивну рСфлСксивност људског ΠΎΡ‚Π΅Π»ΠΎΡ‚Π²ΠΎΡ€Π΅Π½ΠΎΠ³ ΡΡ‚Π°ΡšΠ°. Π ΡƒΠ±Ρ€ΠΈΠΊΠ° Varia ΠΎΠ²ΠΎΠΌ јС ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ Π½Π΅ΡˆΡ‚ΠΎ ΡΠ°ΠΆΠ΅Ρ‚ΠΈΡ˜Π° – доноси Ρ‚Ρ€ΠΈ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅, Π°Π»ΠΈ су њима ΠΌΠ°Ρ€ΠΊΠΈΡ€Π°Π½Π° Ρ€Π°Π·Π»ΠΈΡ‡ΠΈΡ‚Π° ΠΏΠΎΡ™Π° ΠΌΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΡˆΠΊΠΈΡ… ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ°. Π‘ΠΎΡ˜Π°Π½Π° Π Π°Π΄ΠΎΠ²Π°Π½ΠΎΠ²ΠΈΡ› студиозно сС Π±Π°Π²ΠΈΠ»Π° ΠΏΡ€ΠΎΡƒΡ‡Π°Π²Π°ΡšΠ΅ΠΌ СкспрСсивних срСдстава Ρƒ Π΄Π΅Π»ΠΈΠΌΠ° Π·Π° глас српског ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° ΠˆΡƒΠ³Π° ΠœΠ°Ρ€ΠΊΠΎΠ²ΠΈΡ›Π°, Π°Π»ΠΈ ΠΈ ΠΏΠΈΡ‚Π°ΡšΠΈΠΌΠ° ΠΈΠ· Π΄ΠΎΠΌΠ΅Π½Π° односа ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π° ΠΈ Π²ΠΎΠΊΠ°Π»Π½ΠΎΠ³ ΠΈΠ·Π²ΠΎΡ’Π°Ρ‡Π°. Π¦ΠΈΡ™ ΠΎΠ²ΠΎΠ³ ΠΏΠΎΠ΄ΡƒΡ…Π²Π°Ρ‚Π° Π±ΠΈΠΎ јС Π΄Π° ΠΏΡƒΡ‚Π΅ΠΌ Π°Π½Π°Π»ΠΈΠ·Π΅ ΠΎΠ΄Π°Π±Ρ€Π°Π½ΠΈΡ… ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ†ΠΈΡ˜Π° допринСсС ΠΎΡΠ²Π΅Ρ‚Ρ™Π°Π²Π°ΡšΡƒ ΠœΠ°Ρ€ΠΊΠΎΠ²ΠΈΡ›Π΅Π²ΠΎΠ³ Π΅ΠΊΠ»Π΅ΠΊΡ‚ΠΈΡ‡Π½ΠΎΠ³ стила, ΠΊΠ°ΠΎ ΠΈ Π΄Π° сС ΠΎΠ½ ΠΏΠΎΠ·ΠΈΡ†ΠΈΠΎΠ½ΠΈΡ€Π° Ρƒ ΠΌΠ΅Ρ’ΡƒΠ½Π°Ρ€ΠΎΠ΄Π½Π΅ ΠΊΡ€ΡƒΠ³ΠΎΠ²Π΅ стваралаца који сС гласом Π±Π°Π²Π΅ Π½Π° Π½Π΅Ρ‚Ρ€Π°Π΄ΠΈΡ†ΠΈΠΎΠ½Π°Π»Π½Π΅ Π½Π°Ρ‡ΠΈΠ½Π΅. Π˜ΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ΅ ΠœΠ°Ρ€ΠΈΡ˜Π΅ Π”ΠΈΠ½ΠΎΠ² прСдстављСно ΠΎΠ²ΠΎΠΌ ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ односи сС Π½Π° кинСстСтичкС гСстовС, односно тСлСснС ΠΏΠΎΠΊΡ€Π΅Ρ‚Π΅ ΠΈΠ·Π²ΠΎΡ’Π°Ρ‡Π° Ρ‚ΠΎΠΊΠΎΠΌ пСрформанса, Π° ΡƒΠΊΡ™ΡƒΡ‡ΡƒΡ˜ΡƒΡ›ΠΈ сопствСна ΠΏΠΈΡ˜Π°Π½ΠΈΡΡ‚ΠΈΡ‡ΠΊΠ° искуства, посСбну јС ΠΏΠ°ΠΆΡšΡƒ посвСтила Π‘Π΅Ρ‚ΠΎΠ²Π΅Π½ΠΎΠ²ΠΈΠΌ клавирским сонатама. ОбјашњСњС ΡƒΡ‚ΠΈΡ†Π°Ρ˜Π° ΠΊΠ°Ρ€Π°ΠΊΡ‚Π΅Ρ€Π° Ρ„ΠΈΠ·ΠΈΡ‡ΠΊΠΈΡ… ΠΏΠΎΠΊΡ€Π΅Ρ‚Π° Ρ‚Π΅Π»Π° Π½Π° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎ Π΄Π΅Π»ΠΎ ΡƒΠΊΡ™ΡƒΡ‡ΠΈΠ»ΠΎ јС осврт Π½Π° ΡΡ‚Π²Π°Ρ€Π°ΡšΠ΅ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎΠ³ Π΄Π΅Π»Π°, Π° с Π΄Ρ€ΡƒΠ³Π΅ странС ΠΈ Π½Π° ΡΠ΅Π½Π·Π°Ρ†ΠΈΡ˜Π΅ Ρ‚ΠΎΠΊΠΎΠΌ њСговог ΠΈΠ·Π²ΠΎΡ’Π΅ΡšΠ°, ΡˆΡ‚ΠΎ јС сугСрисало ΡˆΠΈΡ€ΠΈ Π·Π°ΠΊΡ™ΡƒΡ‡Π°ΠΊ ΠΎ посСбној ваТности Ρ€Π°Π·ΡƒΠΌΠ΅Π²Π°ΡšΠ° ’кинСтичкС Π΅Π½Π΅Ρ€Π³ΠΈΡ˜Π΅ музикС’. ПослСдњи Ρƒ ΠΎΠ²ΠΎΠΌ Π΄Π΅Π»Ρƒ часописа јС Ρ‡Π»Π°Π½Π°ΠΊ Π”ΠΈΠ½Π΅ Π’ΠΎΡ˜Π²ΠΎΠ΄ΠΈΡ› Николић, посвСћСн ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΈΠΌ ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ°ΠΌΠ° ΠŸΠ΅Ρ‚Ρ€Π° Π‘ΠΈΠ½Π³ΡƒΠ»Ρ†Π°, ΠΊΠ°ΠΎ посСбно Π²Π°ΠΆΠ½ΠΎΠΌ Π΄Π΅Π»Ρƒ њСговог доприноса ΡΡ€ΠΏΡΠΊΠΎΡ˜ ΠΊΡƒΠ»Ρ‚ΡƒΡ€Π½ΠΎΡ˜ ΠΈΡΡ‚ΠΎΡ€ΠΈΡ˜ΠΈ ΠΈ ΠΌΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜ΠΈ. Анализирани су тСкстови ΠΏΡƒΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ΠΈ Ρƒ часопису Мисао, ΡƒΠΊΠ°Π·Π°Π½ΠΎ јС Π½Π° Π‘ΠΈΠ½Π³ΡƒΠ»Ρ‡Π΅Π² Π½Π°Ρ‡ΠΈΠ½ ΠΌΠΈΡˆΡ™Π΅ΡšΠ° ΠΈ ΠΌΠ΅Ρ‚ΠΎΠ΄ Ρ€Π°Π΄Π°, Π° ΠΊΠΎΠΌΠΏΠ°Ρ€Π°Ρ‚ΠΈΠ²Π½ΠΎΠΌ Π°Π½Π°Π»ΠΈΠ·ΠΎΠΌ с ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ°ΠΌΠ° Π΄Ρ€ΡƒΠ³ΠΈΡ… Π°ΡƒΡ‚ΠΎΡ€Π° Π΄Π°Ρ‚Π° јС основа Π·Π° њСгово ΠΏΠΎΠ·ΠΈΡ†ΠΈΠΎΠ½ΠΈΡ€Π°ΡšΠ΅ Ρƒ ΡΡ€ΠΏΡΠΊΠΎΡ˜ ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠΎΡ˜ ΠΊΡ€ΠΈΡ‚ΠΈΡ†ΠΈ Ρƒ ΠΏΠ΅Ρ€ΠΈΠΎΠ΄Ρƒ ΠΈΠ·ΠΌΠ΅Ρ’Ρƒ Π΄Π²Π°Ρ˜Ρƒ свСтских Ρ€Π°Ρ‚ΠΎΠ²Π°, ΠΊΠ°Π΄Π° јС ΠΏΠΎΠΌΠ΅Π½ΡƒΡ‚ΠΈ часопис ΠΈΠ·Π»Π°Π·ΠΈΠΎ. ΠŸΡ€ΠΈΠ»ΠΎΠ·ΠΈ Ρƒ Ρ€ΡƒΠ±Ρ€ΠΈΡ†ΠΈ Научна ΠΊΡ€ΠΈΡ‚ΠΈΠΊΠ° ΠΈ ΠΏΠΎΠ»Π΅ΠΌΠΈΠΊΠ° односС сС Π½Π° Π½Π΅Π΄Π°Π²Π½ΠΎ ΠΎΠ΄Ρ€ΠΆΠ°Π½ Π½Π°ΡƒΡ‡Π½ΠΈ скуп ΠΈ Π½Π° Π·Π±ΠΎΡ€Π½ΠΈΠΊ Π·Π° који јС изостала Π΄ΡƒΠΆΠ½Π° паТња Π·Π±ΠΎΠ³ ΠΏΡƒΠ±Π»ΠΈΠΊΠΎΠ²Π°ΡšΠ° Ρ‚ΠΎΠΊΠΎΠΌ пандСмијС ΠΊΠΎΠ²ΠΈΠ΄Π°. ΠœΠ°Ρ€ΠΈΡ˜Π° Маглов ΠΏΡ€ΠΈΠΏΡ€Π΅ΠΌΠΈΠ»Π° јС ΠΊΡ€ΠΈΡ‚ΠΈΡ‡ΠΊΠΈ осврт Π½Π° ΠΌΠ΅Ρ’ΡƒΠ½Π°Ρ€ΠΎΠ΄Π½ΠΈ ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡ˜ΡƒΠΌ посвСћСн Ρ€Π°Π½ΠΎΡ˜ Π΄ΠΈΡΠΊΠΎΠ³Ρ€Π°Ρ„ΡΠΊΠΎΡ˜ ΠΈΠ½Π΄ΡƒΡΡ‚Ρ€ΠΈΡ˜ΠΈ, Π°ΠΊΡ‚ΡƒΠ΅Π»Π½ΠΎΡ˜ Ρ‚Π΅ΠΌΠΈ Ρƒ контСксту ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π° ΠΌΠ΅Π΄ΠΈΡ˜Π°Π»ΠΈΠ·Π°Ρ†ΠΈΡ˜Π΅ ΠΈ ΠΈΠ½Π΄ΡƒΡΡ‚Ρ€ΠΈΡ˜Π°Π»ΠΈΠ·Π°Ρ†ΠΈΡ˜Π΅ ΠΌΡƒΠ·ΠΈΠΊΠ΅, који су ΠΎΡ€Π³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π»Π΅ хрватскС ΠΊΠΎΠ»Π΅Π³Π΅, ΠΌΠ°Ρ€Ρ‚Π° ΠΎΠ²Π΅ Π³ΠΎΠ΄ΠΈΠ½Π΅. Овај ΠΏΡ€ΠΈΠ»ΠΎΠ³ Π½Π°Ρ€ΠΎΡ‡ΠΈΡ‚ΠΎ јС Π²Π°ΠΆΠ°Π½, с ΠΎΠ±Π·ΠΈΡ€ΠΎΠΌ Π½Π° Ρ‚ΠΎ Π΄Π° сС Π½Π΅ ΠΎΡ‡Π΅ΠΊΡƒΡ˜Π΅ ΡƒΠΎΠ±ΠΈΡ‡Π°Ρ˜Π΅Π½ тСматски Π·Π±ΠΎΡ€Π½ΠΈΠΊ Ρ€Π°Π΄ΠΎΠ²Π° свих учСсника ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡ˜ΡƒΠΌΠ°. Ни Π·Π±ΠΎΡ€Π½ΠΈΠΊ Rethinking Prokofiev, који јС прСдставио Милош Π‘Ρ€Π°Π»ΠΎΠ²ΠΈΡ›, нијС настао Π½Π° основу Π½Π°ΡƒΡ‡Π½ΠΎΠ³ скупа, Π²Π΅Ρ› јС Ρ€Π΅Π·ΡƒΠ»Ρ‚Π°Ρ‚ ΠΎΡ€ΠΈΠ³ΠΈΠ½Π°Π»Π½ΠΈΡ… архивских, Π°Π½Π°Π»ΠΈΡ‚ΠΈΡ‡ΠΊΠΈΡ…, односно ΠΈΠ·Π²ΠΎΡ’Π°Ρ‡ΠΊΠΎ-ΠΈΠ½Ρ‚Π΅Ρ€ΠΏΡ€Π΅Ρ‚Π°Ρ‚ΠΈΠ²Π½ΠΈΡ… ΠΈΡΡ‚Ρ€Π°ΠΆΠΈΠ²Π°ΡšΠ° опуса ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡ‚ΠΎΡ€Π°. Π Π΅Ρ‡ јС ΠΎ ΠΈΠ·Π΄Π°ΡšΡƒ Π½Π° којСм су Π°Π½Π³Π°ΠΆΠΎΠ²Π°Π½ΠΈ Π²ΠΎΠ΄Π΅Ρ›ΠΈ ΡΡ‚Ρ€ΡƒΡ‡ΡšΠ°Ρ†ΠΈ Ρƒ ΠΈΠ½Ρ‚Π΅Ρ€ΠΏΡ€Π΅Ρ‚Π°Ρ†ΠΈΡ˜ΠΈ ΠΎΡΡ‚Π²Π°Ρ€Π΅ΡšΠ° ΠŸΡ€ΠΎΠΊΠΎΡ„Ρ˜Π΅Π²Π°, ΠΎΠ΄ ΡƒΡ€Π΅Π΄Π½ΠΈΠΊΠ° Π΄ΠΎ Π°ΡƒΡ‚ΠΎΡ€Π°, Ρ‚Π΅ Π·Π°Π²Ρ€Π΅Ρ’ΡƒΡ˜Π΅ посСбну ΠΏΠ°ΠΆΡšΡƒ Π½Π°ΡƒΡ‡Π½Π΅ Ρ˜Π°Π²Π½ΠΎΡΡ‚ΠΈ. Π Π΅Π΄Π°ΠΊΡ†ΠΈΡ˜Π° часописа ΠœΡƒΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡ˜Π° срдачно Π·Π°Ρ…Π²Π°Ρ™ΡƒΡ˜Π΅ Π½Π° ΡΠ°Ρ€Π°Π΄ΡšΠΈ Π΄Ρ€ ΠšΠ°Ρ‚Π΅Ρ€ΠΈΠ½ΠΈ Π›Π΅Π²ΠΈΠ΄Ρƒ, Π΄ΠΎΡ†Π΅Π½Ρ‚Ρƒ Π½Π° ΠžΠ΄ΡΠ΅ΠΊΡƒ Π·Π° ΠΌΡƒΠ·ΠΈΡ‡ΠΊΠ΅ ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π΅ Националног ΠΈ ΠšΠ°ΠΏΠΎΠ΄ΠΈΡΡ‚Ρ€ΠΈΡ˜Π°ΡΠΎΠ²ΠΎΠ³ ΡƒΠ½ΠΈΠ²Π΅Ρ€Π·ΠΈΡ‚Π΅Ρ‚Π° Ρƒ Атини, која јС ΠΎΠ²ΠΎΠΌ ΠΏΡ€ΠΈΠ»ΠΈΠΊΠΎΠΌ ΠΏΡ€Π΅ΡƒΠ·Π΅Π»Π° дуТност Π³ΠΎΡˆΡ›Π΅-ΡƒΡ€Π΅Π΄Π½ΠΈΡ†Π΅ Π·Π° Ρ€ΡƒΠ±Ρ€ΠΈΠΊΡƒ Π’Π΅ΠΌΠ° Π±Ρ€ΠΎΡ˜Π°. Π˜Π·ΡƒΠ·Π΅Ρ‚Π½Ρƒ захвалност ΠΈΠ·Ρ€Π°ΠΆΠ°Π²Π°ΠΌΠΎ свим ΠΊΠΎΠ»Π΅Π³Π°ΠΌΠ° којС су ΠΏΡ€ΠΈΡ…Π²Π°Ρ‚Π°Π»Π΅ посао Ρ€Π΅Ρ†Π΅Π½Π·Π΅Π½Π°Ρ‚Π° ΠΈ Π΄ΠΎΠΏΡ€ΠΈΠ½Π΅Π»Π΅ ΠΊΠ²Π°Π»ΠΈΡ‚Π΅Ρ‚Ρƒ ΠΏΡƒΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ΠΈΡ… ΡΡ‚ΡƒΠ΄ΠΈΡ˜Π°.The commemoration of the fiftieth anniversary of Igor Stravinsky’s death (1882–1971) remained in the shadows of the covid-19 pandemic, which caused the prolonged response of the scientific community in terms of new readings of the composer’s opus. The Main Theme in the new issue of Muzikologija-Musicology (No. 34) makes a contribution to this response with a series of studies dedicated to Stravinsky, originating from presentations at the Study Day organized in 2021 by the Department of Music Studies of the National and Kapodistrian University of Athens. The topics cover a wide range of issues relating to all three phases of Stravinsky’s creation (the Russian, the Neoclassical and the Serial), including questions of aesthetics, as well as the impact and reception of his work. Stamatis Zochios revisits the question of Stravinsky’s relationship with Russian folklore, by contextualising the composer’s output of the so-called β€œRussian” period with reference to the history of Russian folkloristics. Zochios concludes that Stravinsky followed in the footsteps of his nineteenth-century predecessors (Glinka and the Mighty Five) in drawing on folk sources for his compositions, yet unlike them, he did not make use of studies from his own time; hence, he did not delve into an extensive and in-depth survey of the existing sources of Russian folklore but, instead, relied on established sources and studies from the nineteenth century. Ivan Moody’s article sheds light on Stravinsky’s output with a focus on his religious works through the perspective of his acquaintance with Jacques Maritain’s philosophy, in the context of the philosophical ferment in Interwar France. Moody pays particular attention to Stravinsky’s interpretation of Maritain’s idea of homo faber, β€œman the maker”. At the same time, he does not ignore the composer’s Russian origins, concluding that the works under examination are equally grounded in Stravinsky’s Russian background and his experiences in the West. Katerina Levidou sheds new light on the Poetics of Music, specifically the question of Pierre Souvtchinsky’s contribution. Her examination moves beyond the obvious places to look, namely the fifth chapter (written by Souvtchinsky) and the well-known reference to Souvtchinsky’s ideas on music and time. The Poetics thus emerges as a most unexpected platform for the presentation and dissemination of positions associated with a certain strand of β€œEurasianism”, the Russian Γ©migrΓ© intellectual and political movement, with which Souvtchinsky was closely associated. Christoph Flamm focuses on Stravinsky’s late output and considers it from the perspective of expressiveness. Specifically, he highlights expressive, semantic and self-referential dimensions in the late compositions, which emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist, but also challenge the composer’s own statements. With Edward Campbell’s article we remain in the post-War era, yet the focus shifts from Stravinsky’s work per se to the impact his output had on the Francophone post-war avant-garde, namely Pierre Boulez, Jean BarraquΓ©, Henri Pousseur and Michel Philippot. Campbell’s analysis brings to the surface the influence Stravinsky had on such composers on the level of rhythmic innovation, and the use of sonorities, harmonies, instrumental colour, musical form as well as pitch polarity. The last two articles approach Stravinsky’s work from the perspective of aesthetics, with reference specifically to the philosophy of Stravinsky’s contemporary, Helmuth Plessner. Iakovos Steinhauer discusses the meaning of corporeality and dance in Stravinsky’s work, moving beyond Stravinsky's historically-documented interest in ballet music. Stravinsky’s ballet music, as Steinhauer demonstrates, attains a β€œmediated immediacy”, thus maintaining a distance from subjective expression, without, however, becoming abstract. Finally, Markos Tsetsos offers a new critique of Adorno’s criticism of Stravinsky with reference to Plessner’s philosophical anthropology. He, therefore, challenges Adorno’s view that Stravinsky regresses to the inhuman and primitive, demonstrating, instead, that his music affirms, in historically adequate modern terms, the constitutive reflectivity of the human embodied condition. On this occasion, the Varia section is more concise, to balance out the breadth of the Main Theme. It contains three studies that map out three different fields of musicological research. Bojana RadovanoviΔ‡ has studiously examined the expressive means in the works for the voice of the Serbian composer Jug MarkoviΔ‡, including the questions from the domain of the relationship between the composer and the vocal performer. By analysing Marković’s selected works, she aims to illuminate his eclectic style and situate him in the international circles of composers who deal with the voice in non-traditional ways. Marija Dinov’s research presented in this issue deals with kinesthetic gestures, i.e. bodily movements of pianists (including herself) during performances, focusing on the performances of Beethoven’s piano sonatas. The explanation of the influence of physical movements on the musical work includes an overview of the creation of the musical work, and, on the other hand, of the sensations during its performance, which leads to a broader conclusion about the special importance of understanding the β€œkinetic energy of music”. The last article in this section of the journal is Dina VojvodiΔ‡ Nikolić’s article dedicated to Petar Bingulac’s music criticism, as a particularly important segment of his contribution to Serbian cultural history and musicology. The author analyses Bingulac’s texts published in the journal Misao [Thought] and points to Bingulac’s way of thinking and methods of work, whilst also providing a comparative analysis with the music reviews of other contemporary critics and thus situating Bingulac’s writings within Serbian music criticism from the interwar period, when the journal Misao was published. Contributions in the section Scientific criticism and polemics refer to the recently held conference and to the collection which has hitherto attracted insufficient attention due to its publication during the covid-19 pandemic. Marija Maglov has prepared a review of the international symposium dedicated to the early recording industry, a current topic in the context of studies of medialisation and industrialisation of music, which was organized by Croatian colleagues in March 2023; this contribution is particularly important considering that the publication of the proceedings of the symposium is not expected. The collection Rethinking Prokofiev, reviewed by MiloΕ‘ BraloviΔ‡, did not result from a scientific conference either; it is the outcome of original archival, analytical, and performance-interpretive research of Sergei Prokofiev’s oeuvre. This collection has gathered together leading experts on Prokofiev’s works, from the editors to the authors, and it deserves special attention from the scientific community. The Editorial Board of the journal Muzikologija-Musicology would like to thank Dr Katerina Levidou, Assistant Professor at the Department of Music Studies of the National and Kapodistrian University of Athens, who served as Guest Editor of the Main Theme. We are very grateful to all colleagues who accepted the roles of peer reviewers and contributed to the quality of published studies

    THE SEMIOTIC USE OF EMOJIS IN MARKETING COMMUNICATION

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    Despite the emergence of social media as the primary tool for communication in social and business settings, research on effectiveness of communication using of emojis is limited. This project seeks to bridge the gap in understanding the effectiveness of the use of emojis in marketing communication. In particular, the dissertation will focus on an interpretive exploration of the use of emojis in marketing communication as a semiotic that supports persuasion

    The neural basis of semantic processing across comprehension contexts

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    Current neurobiological models of semantic cognition have been predominately derived from studies of single-words or sentences which may provide an impoverished estimate of how semantic processing occurs in real-world contexts. Studies that make use of more ecologically valid stimuli such as natural language or narratives suggest that, counter to the hub-and-spoke framework in which the anterior temporal lobe (ATL) serves as a graded hub integrating information from proximal sensorimotor spokes, the semantic system displays voxel-wise category specialization tiled across a large, distributed network. A complicating factor in reconciling these seemingly conflicting claims is the over-reliance on concrete conceptual knowledge in describing the organization of the semantic system. A recent theoretical account argues that social knowledge, like other types of semantic knowledge, is processed within the ventrolateral ATL, but this claim has not been tested using naturalistic stimuli, which better sample abstract social knowledge, including pragmatic inference. This thesis investigates the organization of the semantic system across multiple scales, from isolated words to multimodal narratives, and across multiple types of semantic conceptual knowledge, from concrete to abstract. Using comprehension of concrete words as a starting point, the first study describes a critical examination of specialization within the semantic system for taxonomic (dog – bear) and thematic (dog – leash) relations using intracranial EEG recordings from an array of depth electrodes within ATL, inferior parietal lobule (IPL), and two regions within the semantic control network, inferior frontal gyrus (IFG) and posterior middle temporal gyrus (pMTG). Moving across the context and conceptual scale to build upon this work, the second study investigated how the concrete and abstract lexical and semantic properties of single-words, akin to those that informed the hub-and-spoke model, are processed in a complex, complete narrative presented to participants during fMRI scanning. In doing so, this study enabled comparisons between prior studies of isolated words and naturalistic work, thus moving toward an integrated cross-scale account of semantic cognition. Using the same neuroimaging data, the third study extended this work to investigate how context contributes to the construction of meaning by studying how the semantic and social cognitive systems are engaged by social and pragmatic sentence-level content. This enabled a direct, naturalistic test of the claim that social knowledge is housed within the semantic system. The fourth study investigated shared processing between social and semantic systems using fMRI data collected during movie-viewing, which captures the multimodal environment in which social knowledge is exchanged. The results of these studies collectively demonstrate that the semantic and social systems are differentially engaged across the scales investigated here. Concrete conceptual relations engage one (or more) specialized hubs within the semantic system, whereas processing of naturalistic verbal and event content co-varies with activation in large brain networks. There is evidence of functional gradations within ATL that are differentially sensitive to the demands of narrative comprehension – the anterior superior temporal gyrus (i.e., dorsolateral subregion) and anterior fusiform (i.e., ventral subregion) appear to be particularly sensitive to the quantity and informativeness of external input whereas the anterior middle and inferior temporal gyri (i.e., ventrolateral subregion) appear to be engaged by internal, or endogenous, semantic processing during narrative comprehension. Engagement of this same ventrolateral subregion is observed in response to social word and sentence content, providing support for the claim that social processing is subsumed within the semantic system. Taken together, the results suggest an extension to the current neurobiological model of semantic cognition that accommodates comprehension contexts. The studies undertaken as part of this thesis build upon the existing concept-level frameworks towards a narrative-level framework of semantic cognition

    Optimising digital nature for wellbeing

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    The global burdens of negative psychological states such as stress, anxiety, and burnout represent a growing public health concern. As the incidence of these conditions has risen so too has awareness that natural environments might provide cognitive and affective benefits. Yet unrelenting urbanisation, unprecedented species extinction, and rampant ecological degradation are fostering a creeping extinction of experience, straining the links between people and planet. In an increasingly technologically mediated world, growing emphasis is being placed on how digital forms of nature could impact health. Understanding how simulated contact with the natural world might be optimised for positive wellbeing outcomes is vital if β€˜virtual nature’ is to be used as a therapeutic tool. This thesis consists of three original studies – conducted with large samples and as part of national broadcast initiatives – that aimed to address this burgeoning need. We first investigated nuances in the way natural soundscapes are experienced. Through an award-winning collaboration with the BBC Natural History Unit, a novel podcast series and experiment generated responses from 7,596 participants. Results indicated how the composition of nature-based soundscapes can affect their restorative potential, demonstrated the crucial role that memories play in these relationships, and suggested that appraisals of restoration can exert an important mediating effect on pro-environmental behaviour. Next, a similar level of granularity was applied to landscape aesthetics. An online experiment probed how ephemeral features such as sunrise, sunsets, and storms can impact appraisals of virtual environments. Data from 2,509 people supported the familiar urban-nature dichotomy yet revealed substantial momentary and diurnal heterogeneity in measures of beauty and awe. Changes in these metrics also partially mediated participants’ willingness to pay to visit these locations in the β€˜real world’. Partnering again with the BBC on a multi-platform broadcast initiative called Soundscapes for Wellbeing, our third experiment assessed how the visual and acoustic elements of a digital nature experience, including music, might influence viewer emotions. Analyses from 7,636 respondents suggested that whilst music could enhance high arousal feelings such as excitement, natural sounds were integral to eliciting restoration, calmness, awe, and nostalgia. Again, these data revealed a substantial moderating effect of memories, underlining the importance of lived experiences in determining outcomes. Taken together, these findings reveal important distinctions in the way natural soundscapes are perceived, demonstrate the potential for both ephemeral features and natural sounds to elicit the complex emotions of awe and nostalgia, and highlight the profound moderating effects of personal memories. Future work might focus on expanding understanding of how awe, nostalgia, and memories could represent a hitherto under-recognised depth to the therapeutic potential of encounters with nature in both virtual and real settings.Wellcome Trus

    NΓΊmero 30 completo

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    Multimodal assessment of emotional responses by physiological monitoring: novel auditory and visual elicitation strategies in traditional and virtual reality environments

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    This doctoral thesis explores novel strategies to quantify emotions and listening effort through monitoring of physiological signals. Emotions are a complex aspect of the human experience, playing a crucial role in our survival and adaptation to the environment. The study of emotions fosters important applications, such as Human-Computer and Human-Robot interaction or clinical assessment and treatment of mental health conditions such as depression, anxiety, stress, chronic anger, and mood disorders. Listening effort is also an important area of study, as it provides insight into the listeners’ challenges that are usually not identified by traditional audiometric measures. The research is divided into three lines of work, each with a unique emphasis on the methods of emotion elicitation and the stimuli that are most effective in producing emotional responses, with a specific focus on auditory stimuli. The research fostered the creation of three experimental protocols, as well as the use of an available online protocol for studying emotional responses including monitoring of both peripheral and central physiological signals, such as skin conductance, respiration, pupil dilation, electrocardiogram, blood volume pulse, and electroencephalography. An emotional protocol was created for the study of listening effort using a speech-in-noise test designed to be short and not induce fatigue. The results revealed that the listening effort is a complex problem that cannot be studied with a univariate approach, thus necessitating the use of multiple physiological markers to study different physiological dimensions. Specifically, the findings demonstrate a strong association between the level of auditory exertion, the amount of attention and involvement directed towards stimuli that are readily comprehensible compared to those that demand greater exertion. Continuing with the auditory domain, peripheral physiological signals were studied in order to discriminate four emotions elicited in a subject who listened to music for 21 days, using a previously designed and publicly available protocol. Surprisingly, the processed physiological signals were able to clearly separate the four emotions at the physiological level, demonstrating that music, which is not typically studied extensively in the literature, can be an effective stimulus for eliciting emotions. Following these results, a flat-screen protocol was created to compare physiological responses to purely visual, purely auditory, and combined audiovisual emotional stimuli. The results show that auditory stimuli are more effective in separating emotions at the physiological level. The subjects were found to be much more attentive during the audio-only phase. In order to overcome the limitations of emotional protocols carried out in a laboratory environment, which may elicit fewer emotions due to being an unnatural setting for the subjects under study, a final emotional elicitation protocol was created using virtual reality. Scenes similar to reality were created to elicit four distinct emotions. At the physiological level, it was noted that this environment is more effective in eliciting emotions. To our knowledge, this is the first protocol specifically designed for virtual reality that elicits diverse emotions. Furthermore, even in terms of classification, the use of virtual reality has been shown to be superior to traditional flat-screen protocols, opening the doors to virtual reality for the study of conditions related to emotional control

    Brain processes underlying the perception of audiovisual content

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    Programa de Doctorado en NeurocienciasLΓ­nea de InvestigaciΓ³n: Procesos neuronales que subyacen al aprendizaje y la memoria en el animal despierto. Substratos neuronales de los comportamientos apetitivos y exploratoriosClave Programa: DNFCΓ³digo LΓ­nea: 90La percepciΓ³n audiovisual ha sido tradicionalmente abordada desde perspectivas sociales, psicolΓ³gicas, semiΓ³ticas y antropolΓ³gicas. En los ΓΊltimos aΓ±os ha surgido un enfoque novedoso desde la neurociencia. En el campo de la neurocinemΓ‘tica, las tΓ©cnicas de la neurociencia se utilizan para comprender los procesos cerebrales que subyacen a la percepciΓ³n del contenido audiovisual. Esta Tesis Doctoral estudia estos procesos bajo tres perspectivas principales: (1) encontrar diferencias en la percepciΓ³n de un contenido narrativo en una representaciΓ³n real o en una pantalla; (2) aprender cΓ³mo el estilo y el contenido de las obras audiovisuales afectan a la percepciΓ³n de los espectadores; y (3) determinar si la profesionalizaciΓ³n en los medios tiene un impacto en la percepciΓ³n visual. Con tΓ©cnicas electroencefalogrΓ‘ficas y electrooculogrΓ‘ficas, se registraron los parpadeos y la actividad elΓ©ctrica cerebral de los participantes. Los principales hallazgos de estos trabajos son los siguientes. En cuanto a la primera perspectiva, se encontraron diferencias en la percepciΓ³n de la realidad y el audiovisual. Un contenido narrativo en un video provoca una menor tasa de parpadeo de los espectadores en comparaciΓ³n con el mismo contenido dentro de una actuaciΓ³n real. En cuanto a la segunda perspectiva relacionada con el estilo y el contenido de las obras audiovisuales, se encontrΓ³ que: (i) la tasa de parpadeo de los espectadores cambia segΓΊn el estilo de montaje de las obras audiovisuales, cuanto mΓ‘s caΓ³tico el estilo, menor la tasa de parpadeo; (ii) los cortes de plano inhiben los parpadeos inmediatamente posteriores a ellos, evitando la posibilidad de trabajar en una sincronizaciΓ³n de cortes con parpadeos para evitar la pΓ©rdida de informaciΓ³n visual realizada por ambos procesos; (iii) los cortes de plano afectan la percepciΓ³n de los medios y provocan una posible propagaciΓ³n de la actividad desde las Γ‘reas occipitales hacia las Γ‘reas frontales del cerebro alrededor de 200 ms despuΓ©s del corte; (iv) el estilo de ediciΓ³n donde se insertan los cortes tiene un impacto en la decodificaciΓ³n de los espectadores y los audiovisuales caΓ³ticos y rΓ‘pidos aumentan el alcance atencional pero disminuyen el procesamiento cognitivo superior; (v) existen contenidos narrativos especΓ­ficos que sincronizan aumentos y disminuciones de la tasa de parpadeo de los espectadores, independientemente del estilo de ediciΓ³n en que se presenten; y (vi) los cortes en los audiovisuales no provocan ninguna actividad cerebral asimΓ©trica especΓ­fica en la banda alfa en los espectadores, lo que sugiere que la asimetrΓ­a cerebral al ver audiovisuales puede estar mΓ‘s relacionada con el contenido narrativo que con el estilo formal. Finalmente, con respecto a la tercera perspectiva relacionada con la profesionalizaciΓ³n de los medios, se encontrΓ³ que: (i) los profesionales de los medios prestan mΓ‘s atenciΓ³n tanto a las pantallas como al mundo real que los que no son profesionales audiovisuales; (ii) los profesionales de los medios disminuyen mΓ‘s su tasa de parpadeo despuΓ©s de los cortes de plano, lo que sugiere que pueden manejar mejor la pΓ©rdida de informaciΓ³n visual que implican los parpadeos evitΓ‘ndolos cuando se presenta nueva informaciΓ³n visual; y (iii) la conectividad cerebral efectiva ocurre de una manera mΓ‘s organizada en los profesionales del audiovisual. En conclusiΓ³n, los audiovisuales modulan la percepciΓ³n visual de los espectadores, en funciΓ³n de varios parΓ‘metros como el estilo, el contenido y la profesionalizaciΓ³n. Conocer los procesos cerebrales que subyacen a la percepciΓ³n de contenidos audiovisuales puede ser ΓΊtil en mΓΊltiples Γ‘mbitos como el comunicativo, el clΓ­nico o el formativo, entre otros.Universidad Pablo de Olavide de Sevilla. Departamento de FisiologΓ­a, AnatomΓ­a y BiologΓ­a Celula

    The Truth-Default, Diagnostic Utility, and the Value of Contextual Knowledge in Deceptive Interactions

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    This dissertation describes and reports an experimental study examining the predictions of truth-default theory (TDT). TDT is an expansive, modular theory of deception detection which explains the processes by which people abandon the truth-default state and navigate judgments of message veracity in conversations. The first goal of this study was to test TDT’s seventh proposition, which explains how communicators abandon the truth-default state through trigger events (i.e., actions which prompt communicators to be uncertain about the accuracy of the message) such as decreased sender believability and message coherence. The second goal of this study was to test the predictions of TDT’s ninth hypothesis, which explains how messages are judged as deceptive through the same triggers that prompt the abandonment of the truth-default state. Finally, this study tests TDT’s twelfth proposition, which claims that questioning which produces diagnostic utility will ultimately result in higher judgment accuracy than relying on perceptions of sender believability or message coherence when judging the veracity of messages. The proposed study sampled 361 participants from Amazon’s Mechanical Turk (MTurk), who watched a sequence of two videos and completed an anonymous online survey. None of the study hypotheses concerning TDT’s seventh, ninth, and twelfth propositions were supported, but the findings from this dissertation did contribute to the deception literature with regard to the prevalence of the truth-default and truth bias. Theoretical and practical implications of the results are discussed, as well as a review of the limitations influencing the interpretation of this dissertation’s findings

    The Potential of the Transformative Storytelling Technique for supporting informal caregiver wellbeing

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    In una societΓ  in cui i progressi e le innovazioni si verificano quotidianamente, lo sviluppo di strumenti digitali per la salute mentale continua a ritmi quasi incontrollabili. Seguendo le tendenze nell'utilizzo dello storytelling in tutti i campi e riflettendo sulla mancanza di modelli di lavoro e strutture per l'applicazione dello storytelling nel supporto della salute mentale, la Transformative Storytelling Technique Γ¨ progettata e sviluppata come parte di questo lavoro. Questa tecnica rappresenta una nuova categoria per la creazione di contenuti ibridi per guidare l'esperienza del pubblico, a partire dal caso dei caregiver informali. Lo scopo di questa dissertazione Γ¨ introdurre ed esplorare la fattibilitΓ  di una nuova tecnica - Transformative Storytelling (TST) - nel supportare la salute mentale e il benessere dei caregiver informali con storie audio progettate. La tesi Γ¨ presentata in quattro capitoli in linea con gli obiettivi e strutturata secondo le fasi di ricerca e sviluppo applicate nello sviluppo di questa nuova tecnica. In questo lavoro viene utilizzato il disegno del metodo misto, inclusa la revisione qualitativa dell'ambito nel primo studio, l'indagine narrativa utilizzando interviste semi-strutturate progettate seguendo le categorie di esplorazione TST a priori nel secondo studio e lo studio quantitativo pre-post interventistico combinato con il facciale monitoraggio dell'espressione nello studio pilota. La Transformative Storytelling Technique Γ¨ dimostrata come un approccio metodologico e narrativo digitale potenzialmente di successo per strutturare, sintetizzare tematicamente le esperienze dei gruppi target e consegnarle attraverso la narrazione digitale. Questo potenziale Γ¨ stato osservato nella valutazione pilota pre-post, in cui la tecnica ha dimostrato una significativa riduzione del carico soggettivo e un significativo aumento della felicitΓ  durante l'esposizione della storia TST. Nello Studio 1, vengono esplorati gli strumenti di salute mentale digitale esistenti per i caregiver informali, seguiti dallo Studio 2 in cui Γ¨ stata discussa e proposta una potenziale soluzione di supporto. In linea con ciΓ², il lavoro continua con lo Studio 3 in cui la Transformative Storytelling Technique viene adattata dal Transformative Video Design e viene eseguita la dimostrazione metodologica. Successivamente, la valutazione pilota della tecnica menzionata nello Studio 4 Γ¨ inclusa per testare la fattibilitΓ  dell'utilizzo della tecnica di narrazione per supportare i caregiver informali con narrazioni digitali TST. Infine, i limiti e le implicazioni per la ricerca futura sono discussi nella sezione finale.In a society where advances and innovations occur daily, the development of digital mental health tools continues at almost uncontrollable rates. Following trends in utilization of storytelling across fields and reflecting on the lack of working models and frameworks for application of storytelling in mental health support, the Transformative Storytelling Technique is designed and developed as a part of this work. This technique represents a new category for creating hybrid content to guide the experience of audiences, starting with the case of informal caregivers. The aim of this dissertation is to introduce and explore the feasibility of a novel technique – Transformative Storytelling (TST) - in supporting informal caregivers’ mental health and wellbeing with designed audio stories. The dissertation is presented in four chapters in line with the objectives and structured according to the research and developmental phases applied in developing this novel technique. Mixed-method design is used in this work, including qualitative scoping review in first study, narrative inquiry using semi-structured interviews designed following a-priori TST categories of exploration in the second study, and quantitative pre-post interventional study combined with the facial expression tracking in the pilot study. Transformative Storytelling Technique is demonstrated as a potentially successful methodological and digital narrative approach for structuring, thematically synthesizing experiences of target groups, and delivering them via digital narration. This potential was observed in the pilot pre-post assessment, where the technique demonstrated significant reduction of the subjective burden and a significant increase in happiness during the TST story exposure. In Study 1, the existing digital mental health tools for informal caregivers are being explored, followed by the Study 2 where a potential support solution has been thoroughly discussed and proposed. In line with that, the work continues with Study 3 where the Transformative Storytelling Technique is adapted from the Transformative Video Design and methodological demonstration is being performed. Next, the pilot assessment of the mentioned technique in Study 4 is included to test the feasibility of using the storytelling technique for supporting informal caregivers with TST digital narratives. Finally, limitations and implications for future research are discussed in the final section
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