DOCSLIB.ORG

Aastaraamat 2011.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aastaraamat 2011.Pdf Eesti Muusika- ja Teatriakadeemia väljaanne Koostanud Margus Pärtlas Toimetanud Merit Lassmann ja Viida Raag Küljendanud Maite-Margit Kotta Kaane kujundanud Andres Rohtla Tallinn 2012 ISSN 1736-5902 Trükitud AS Spin Press SISUKORD Saateks (Peep Lassmann) ........................................................................................................................................................................ 5 Valik EMTA sündmusi aastal 2011 ......................................................................................................................................................... 6 EMTA nõukogus (Katrin Puur) ................................................................................................................................................................ 9 Õppetöö ja üliõpilaskond (Jane Kreek) ............................................................................................................................................ 11 Akadeemilised üksused .........................................................................................................................................................................23 Klaveriosakond (Ivari Ilja)..................................................................................................................................................................23 Keelpilliosakond (Peeter Paemurru) .............................................................................................................................................24 Puhkpilliosakond (Toomas Vavilov) ..............................................................................................................................................25 Lauluosakond (Nadežda Kurem) ...................................................................................................................................................26 Dirigeerimisosakond (Tõnu Kaljuste) ...........................................................................................................................................27 Kammermuusika osakond (Helin Kapten) .................................................................................................................................28 Kompositsiooniosakond (Toivo Tulev) ........................................................................................................................................29 Muusikateaduse osakond (Urve Lippus).....................................................................................................................................31 Interpretatsioonipedagoogika instituut (Tõnu Reimann)....................................................................................................32 Koolimuusika instituut (Kristi Kiilu) ...............................................................................................................................................33 Jazzmuusika osakond (Jaak Sooäär, Tuulikki Bartosik) ..........................................................................................................34 Lavakunstikool (Peeter Raudsepp) ...............................................................................................................................................36 Kultuurikorralduse ja humanitaarainete osakond (Kristina Kuznetsova-Bogdanovitš) ............................................38 EMTA kontserdid ja ooperistuudio etendused (Kaili Eerma, Mari Kolle) ..............................................................................40 EMTA videod (Marek Vilba) ...................................................................................................................................................................49 Valik heli- ja videosalvestisi EMTA liikmetelt (Viida Raag)..........................................................................................................55 Õppejõudude ja teadustöötajate loominguline ning teaduslik tegevus (Viida Raag) ....................................................60 Loodud heliteosed, autorikontserdid ..........................................................................................................................................60 Lavastamine, etenduste dirigeerimine, uued rollid ...............................................................................................................64 Valik kontserte .....................................................................................................................................................................................66 Teaduslikud publikatsioonid ..........................................................................................................................................................80 Ettekanded rahvusvahelistel konverentsidel ...........................................................................................................................82 Välis- ja avalike suhete osakond (Marje Lohuaru, Hanneleen Pihlak) ....................................................................................84 Täienduskoolituskeskus (Ene Kangron) ............................................................................................................................................89 Raamatukogu (Ilvi Rauna)......................................................................................................................................................................93 Finants- ja majandustegevus (Ott Maaten, Ene Tõnissoo) ........................................................................................................97 Ametikohad 2011/2012. õppeaastal (Sirje Tuulberg) .................................................................................................................102 Isikkoosseis 2011/2012. õppeaastal (Sirje Tuulberg) .................................................................................................................. 104 Eesti Muusika- ja Teatriakadeemia 2011. aasta lõpetajad ........................................................................................................116 3 4 SAATEKS 2011. aasta oli loominguliselt edukas nii Eesti Muusika- ja Teatriakadeemia üliõpilastele kui ka õppejõududele. Erakordne oli dirigent Endrik Üksvärava ja tema juhatatud koori Collegium Musicale saavutus – viie kuu jooksul kolmel rahvusvahelisel konkursil Tallinnas, Gorizias ning Arezzos saadi kokku kaks Grand Prix’d, seitse esikohta erinevates kategooriates, ühel korral III preemia ja üks eripreemia. Kõige selle vahepeal jõudis Endrik Üksvärav ka magistridiplomini. Laienenud on ka meie konkursivõitjate nimistu nii geograafiliselt kui erialati. Saksofonist Zhu Shaofei ja flötist Heili Rosin said I preemia Armeenias toimunud rahvusvahelisel noorte interpreetide konkursil “Renaissance“ ning Anna Liisa Eller I preemia Helsingis toimunud rahvusvahelisel kandlekonkursil. II Tallinna rahvusvahelisel pianis- tide konkursil võitis I preemia EMTA bakalaureuseõppe 2010. aastal lõpetanud Kristi Kapten, II preemia pälvis meie üliõpilane Holger Marjamaa. Sven Sosnitski kompositsioon “Solara“ elektroonikale ja akustilistele instru- mentidele jõudis Viinis toimunud rahvusvahelisel heliloojate rostrumil kolme soovitatud teose hulka. Magistrand Elina Reinold sai parima naisosatäitja preemia nimirolli eest lavastuses “Antigone“ Iraanis toimunud teatrifestivalil “Fadjr“. Dotsent Kristi Kiilu sai Heino Liimetsa preemia 2011. aasta kasvatusteaduslike tööde konkursil Helsingi Ülikoolis kaitstud doktoritöö eest. Paljud meie õppejõud said suure avaliku tunnustuse osaliseks. Emeriitdotsent Ivi Tivik sai Vabariigi Presidendilt Valgetähe V klassi teenetemärgi. Riigi kultuuripreemia pälvisid professor Olav Ehala loomingulise tegevuse eest, lavakunstikooli kursuse juhendaja Tiit Ojasoo ja õppejõud Eero Epner Teater No99 suurprojekti “Erakonna Ühtne Eesti suurkogu“ eest. Eesti Muusikanõukogu heliloomingu aastapreemia sai professor René Eespere, interpree- dipreemia jazzpianist ja õppejõud Tõnu Naissoo ja muusikategelase preemia EMTA kauaaegne klaverihäälestaja Ants Saluraid. 2011. aastal leppis EMTA kokku Tartu Ülikooli Viljandi Kultuuriakadeemiaga ja Estonian Business Schooliga ühiste õppekavade avamise osas vastavalt muusikapedagoogika ja kultuurikorralduse magistriõppes. Õppeaasta alguses paranesid oluliselt meie üliõpilaste majutustingimused – koostöös Eesti Kunstiakadeemiaga avasime uue ühiselamu Tallinna kesklinnas. Sellega seoses müüsime Jannseni 38 kinnistu Riigi Kinnisvara Aktsia- seltsile, millega katkesid lõplikult meie kauaaegsed sidemed Kivimäega. Peep Lassmann rektor 5 Valik EMTA sündmusi aastal 2011 VALIK EMTA SÜNDMUSI AASTAL 2011 29. jaanuaril anti Eesti Kooriühingu aastakontserdil pidulikult üle Gustav Ernesaksa nimelise koorimuusika pea- stipendium dirigeerimisosakonna juhataja TÕNU KALJUSTEle. Õppestipendiumi pälvis kooridirigeerimise eriala üliõpilane LIISA SÕÕRO. 20. veebruaril sai magistrand ELINA REINOLD parima naisosatäitja preemia nimirolli eest lavastuses “Antigone“ Iraanis toimunud teatrifestivalil “Fadjr“. 23. veebruaril andis Eesti Vabariigi president emeriitdots IVI TIVIKule Valgetähe V klassi teenetemärgi 24. veebruaril anti üle Riiklik Kultuuripreemia professor OLAV EHALAle loominguliste saavutuste eest, lavakuns- tikooli kursuse juhendaja TIIT OJASOOle ja õppejõud EERO EPNERile Teater No99 suurprojekti “Erakonna Ühtne Eesti suurkogu” eest. 26. veebruaril võitis JAAN KAPP prof Ivari Ilja klaveriklassist EMTAs toimunud Yamaha stipendiumikonkursi. 18. märtsil esinesid No99 jazziklubis
Load more

Recommended publications
  • Liste Représentative Du Patrimoine Culturel Immatériel De L'humanité
    Liste représentative du patrimoine culturel immatériel de l’humanité Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Al-Ayyala, un art traditionnel du Oman - Émirats spectacle dans le Sultanat d’Oman et 2014 2014 01012 arabes unis aux Émirats arabes unis Al-Zajal, poésie déclamée ou chantée Liban 2014 2014 01000 L’art et le symbolisme traditionnels du kelaghayi, fabrication et port de foulards Azerbaïdjan 2014 2014 00669 en soie pour les femmes L’art traditionnel kazakh du dombra kuï Kazakhstan 2014 2014 00011 L’askiya, l’art de la plaisanterie Ouzbékistan 2014 2014 00011 Le baile chino Chili 2014 2014 00988 Bosnie- La broderie de Zmijanje 2014 2014 00990 Herzégovine Le cante alentejano, chant polyphonique Portugal 2014 2014 01007 de l’Alentejo (sud du Portugal) Le cercle de capoeira Brésil 2014 2014 00892 Le chant traditionnel Arirang dans la République 2014 2014 00914 République populaire démocratique de populaire Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Corée démocratique de Corée Les chants populaires ví et giặm de Viet Nam 2014 2014 01008 Nghệ Tĩnh Connaissances et savoir-faire traditionnels liés à la fabrication des Kazakhstan - 2014 2014 00998 yourtes kirghizes et kazakhes (habitat Kirghizistan nomade des peuples turciques) La danse rituelle au tambour royal Burundi 2014 2014 00989 Ebru, l’art turc du papier marbré Turquie 2014 2014 00644 La fabrication artisanale traditionnelle d’ustensiles en laiton et en
    [Show full text]
  • Impact Model of Tourism Production and Consumption in Nanjing Yunjin: the Perspective of Cultural Heritage Reproduction
    sustainability Article Impact Model of Tourism Production and Consumption in Nanjing Yunjin: The Perspective of Cultural Heritage Reproduction Ke Zhang 1 , Mu Zhang 1,* , Rob Law 2, Xuanyu Chen 1 and Qiongyao Wang 1 1 Shenzhen Tourism College, Jinan University, Shenzhen 518053, China; [email protected] (K.Z.); [email protected] (X.C.); [email protected] (Q.W.) 2 School of Hotel and Tourism Management, The Hong Kong Polytechnic University, Hong Kong; [email protected] * Correspondence: [email protected]; Tel.:+00-8675-526-931-865 Received: 18 March 2020; Accepted: 13 April 2020; Published: 23 April 2020 Abstract: Nanjing Yunjin was included in “the first batch of non-material cultural heritage list in China” in 2006, and the city was also selected as “a list of representatives of human intangible cultural heritage” by the United Nations in September 2009. Nanjing Yunjin is now a scarce tourism resource on the verge of extinction. Carrying out effective cultural tourism development and production, and informing consumers about its cultural connotation are problems worth studying. This study aims to explore and analyze the cultural reproduction process of Nanjing Yunjin in the cultural tourism production-consumption closed-cycle model. Based on the review, the study introduces word cloud tools and explores the cultural production links of heritage by means of narrative analysis, applies quantitative methods to verify the relationship among production, consumption, and reproduction, and finally, constructs the production-consumption impact model of Nanjing Yunjin cultural tourism. Results indicate that the cultural tourism production of Nanjing Yunjin has a significant positive impact on cultural tourism consumption, which, in turn, positively affects cultural reproduction.
    [Show full text]
  • Representative List of the Intangible Cultural Heritage Of
    RL cover [temp]:Layout 1 1/6/10 17:35 Page 2 2009 United Nations Intangible Educational, Scientific and Cultural Cultural Organization Heritage Representative List of the Intangible Cultural Heritage of Humanity RL cover [temp]:Layout 1 1/6/10 17:35 Page 5 Rep List 2009 2.15:Layout 1 26/5/10 09:25 Page 1 2009 Representative List of the Intangible Cultural Heritage of Humanity Rep List 2009 2.15:Layout 1 26/5/10 09:25 Page 2 © UNESCO/Michel Ravassard Foreword by Irina Bokova, Director-General of UNESCO UNESCO is proud to launch this much-awaited series of publications devoted to three key components of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage: the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, the Representative List of the Intangible Cultural Heritage of Humanity, and the Register of Good Safeguarding Practices. The publication of these first three books attests to the fact that the 2003 Convention has now reached the crucial operational phase. The successful implementation of this ground-breaking legal instrument remains one of UNESCO’s priority actions, and one to which I am firmly committed. In 2008, before my election as Director-General of UNESCO, I had the privilege of chairing one of the sessions of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, in Sofia, Bulgaria. This enriching experience reinforced my personal convictions regarding the significance of intangible cultural heritage, its fragility, and the urgent need to safeguard it for future generations. Rep List 2009 2.15:Layout 1 26/5/10 09:25 Page 3 It is most encouraging to note that since the adoption of the Convention in 2003, the term ‘intangible cultural heritage’ has become more familiar thanks largely to the efforts of UNESCO and its partners worldwide.
    [Show full text]
  • Representative List of the Intangible Cultural Heritage of Humanity As Heritage Fund
    ElemeNts iNsCriBed iN 2012 oN the UrGeNt saFeguarding List, the represeNtatiVe List iNTANGiBLe CULtURAL HERITAGe aNd the reGister oF Best saFeguarding praCtiCes What is it? UNESCo’s ROLe iNTANGiBLe CULtURAL SECRETARIAT Intangible cultural heritage includes practices, representations, Since its adoption by the 32nd session of the General Conference in HERITAGe FUNd oF THE CoNVeNTION expressions, knowledge and know-how that communities recognize 2003, the Convention for the Safeguarding of the Intangible Cultural The Fund for the Safeguarding of the The List of elements of intangible cultural as part of their cultural heritage. Passed down from generation to Heritage has experienced an extremely rapid ratification, with over Intangible Cultural Heritage can contribute heritage is updated every year by the generation, it is constantly recreated by communities in response to 150 States Parties in the less than 10 years of its existence. In line with financially and technically to State Intangible Cultural Heritage Section. their environment, their interaction with nature and their history, the Convention’s primary objective – to safeguard intangible cultural safeguarding measures. If you would like If you would like to receive more information to participate, please send a contribution. about the 2003 Convention for the providing them with a sense of identity and continuity. heritage – the UNESCO Secretariat has devised a global capacity- Safeguarding of the Intangible Cultural building strategy that helps states worldwide, first, to create
    [Show full text]
  • Representative List of the Intangible Cultural Heritage of Humanity, 2009; 2010
    2009 United Nations Intangible Educational, Scientific and Cultural Cultural Organization Heritage Representative List of the Intangible Cultural Heritage of Humanity Rep List 2009 2.15:Layout 1 26/5/10 09:25 Page 1 2009 Representative List of the Intangible Cultural Heritage of Humanity Rep List 2009 2.15:Layout 1 26/5/10 09:25 Page 2 © UNESCO/Michel Ravassard Foreword by Irina Bokova, Director-General of UNESCO UNESCO is proud to launch this much-awaited series of publications devoted to three key components of the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage: the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, the Representative List of the Intangible Cultural Heritage of Humanity, and the Register of Good Safeguarding Practices. The publication of these first three books attests to the fact that the 2003 Convention has now reached the crucial operational phase. The successful implementation of this ground-breaking legal instrument remains one of UNESCO’s priority actions, and one to which I am firmly committed. In 2008, before my election as Director-General of UNESCO, I had the privilege of chairing one of the sessions of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, in Sofia, Bulgaria. This enriching experience reinforced my personal convictions regarding the significance of intangible cultural heritage, its fragility, and the urgent need to safeguard it for future generations. Rep List 2009 2.15:Layout 1 26/5/10 09:25 Page 3 It is most encouraging to note that since the adoption of the Convention in 2003, the term ‘intangible cultural heritage’ has become more familiar thanks largely to the efforts of UNESCO and its partners worldwide.
    [Show full text]
  • Proposing Strategies Against the Loss of Intangible Cultural Heritage in the Era of Globalization Student Officer: Bill Michalis Position: Chair
    Committee: Social, Humanitarian and Cultural Issue: Proposing strategies against the loss of intangible cultural heritage in the era of globalization Student Officer: Bill Michalis Position: Chair Introduction One of the most important aspects of our everyday lives is culture, as it not only concerns each person individually, but also several groups of people as well, either large or small. Culture plays a role in shaping a person’s character. However, culture is not just big monuments and artifacts of historical importance· it is also the tradition behind a civilization, which carves people’s identity. The monuments, the objects, the places are described as Tangible Cultural Heritage. The practices and the traditions are described as Intangible Cultural Heritage and sometimes include objects etc. that are part of the Tangible Cultural Heritage. To understand the importance of preserving the Intangible Cultural Heritage we have to comprehend exactly what it is. Intangible Cultural Heritage is a term that describes anything considered by UNESCO as a part of a nation’s cultural heritage and tradition. It includes any practice that is considered by the people as part of their cultural heritage and it includes any Tangible Cultural Heritage, Figure 1 - The Hat Mon festival at the Hat Mon temple in meaning objects, places, etc. that are Vietnam associated with such practices. In 2001, UNESCO made an effort to define Intangible Cultural Heritage and in 2003, the Convention for the Safeguarding of Intangible Cultural Heritage (CSICH) was drafted by NGOs and UNESCO member states for the protection and the promotion of Intangible Cultural Heritage. Intangible Cultural Heritage is defined by the 2nd article of the aforementioned Convention as “the practices, representations, expressions, knowledge, skills —as well as the instruments, objects, artefacts and cultural spaces associated therewith— that communities, groups and, in some cases, individuals recognize as part of their cultural heritage.
    [Show full text]
  • Yunjin Brocade 泽丰润。云锦从南北朝到明清一直 云锦 用天然染料。其中植物染料用得最 多，原料基本由南京出产。
    云锦，图案典雅优美，色彩绚 丽庄重，宛如天上的云霞，因此而 得名。云锦专为历代宫廷所用，有 近七百年皇家御用历史，其材质以 真丝、金（银）线为主，工艺以纯 手工挖花盘织，是中国古代织锦工 艺最高水平的代表。 南京城里的秦淮河，其独特的 水质为云锦材料的染色提供了很 好的条件。水中含有的单宁酸成分， 呈弱碱性，能够在染色时起到天然 的触媒作用，使染色后的丝织物光 Yunjin Brocade 泽丰润。云锦从南北朝到明清一直 用天然染料。其中植物染料用得最 云锦 多，原料基本由南京出产。 Nanjing Yunjin (cloud pattern) brocade derives its name from the featur 云锦传统生产工艺集成了中 e of being as splendid as the rosy clouds in the sky. It had always been produ 国古代织锦提花技术并有所发展。 ced exclusively for the imperial family in previous ages spanning nearly 700 手工织造的云锦是织锦中最为珍 years. The fabric made of silk, gold and silver threads with fine craftsmansh 贵的上品，其技艺可作为中国古代 ip is exquisite, elegant and gorgeous. The superb weaving technique represe 织造工艺的典型。其“挖花盘织”等 nts the highest level of the kind in ancient China. 织造工艺和“逐花异色”艺术风格 所代表的流派在中国独树一帜，至 The Qinhuai River in Nanjing City provides unique quality water for fa 今不能被现代机器代替，在世界范 bric dyeing. The water, containing Tannic acid, is alkalescent, which plays a 围也属罕见。在云锦的织造过程中， catalytic role in dyeing and makes the dyed fabric silky and glossy. From the 需要拽花工与织手两个人在织机 Southern and Northern Dynasties to the Ming and Qing dynasties, Yunjin br 上下互相配合，一天也只能完成 5 ocade had been using natural dyes, which were extracted from plants and pr 至 6 厘米的匹料，确实称得上是“寸 oduced in Nanjing. 锦寸金”。 The traditional production was developed on the ancient jacquard techn （中国国家知识产权局知识 ology. The hand-woven Yunjin brocade is the most precious brocade, whose 产权保护司供稿） craftsmanship represents the achievement of ancient weaving technology in China. The weaving technology and unique design of the brocade is exceedi ngly complex and exquisite, and no modern machine has yet been able to rep lace the ancient looms, which is rare in the world.
    [Show full text]
  • Representative List of the Intangible Cultural Heritage of Humanity (As of 2018)
    Representative List of the Intangible Cultural Heritage of Humanity (As of 2018) 2018 Art of dry stone walling, knowledge and techniques Croatia – Cyprus – France – Greece – Italy – Slovenia – Spain – Switzerland As-Samer in Jordan Jordan Avalanche risk management Switzerland – Austria Blaudruck/Modrotisk/Kékfestés/Modrotlač, resist block printing Austria – Czechia – and indigo dyeing in Europe Germany – Hungary – Slovakia Bobbin lacemaking in Slovenia Slovenia Celebration in honor of the Budslaŭ icon of Our Lady (Budslaŭ Belarus fest) Chakan, embroidery art in the Republic of Tajikistan Tajikistan Chidaoba, wrestling in Georgia Georgia Dondang Sayang Malaysia Festivity of Las Parrandas in the centre of Cuba Cuba Heritage of Dede Qorqud/Korkyt Ata/Dede Korkut, epic Azerbaijan – culture, folk tales and music Kazakhstan – Turkey Horse and camel Ardhah Oman Hurling Ireland Khon, masked dance drama in Thailand Thailand La Romería (the pilgrimage): ritual cycle of 'La llevada' (the Mexico carrying) of the Virgin of Zapopan Lum medicinal bathing of Sowa Rigpa, knowledge and China practices concerning life, health and illness prevention and treatment among the Tibetan people in China Međimurska popevka, a folksong from Međimurje Croatia Mooba dance of the Lenje ethnic group of Central Province of Zambia Zambia Mwinoghe, joyous dance Malawi Nativity scene (szopka) tradition in Krakow Poland Picking of iva grass on Ozren mountain Bosnia and Herzegovi na Pottery skills of the women of Sejnane Tunisia Raiho-shin, ritual visits of deities in masks
    [Show full text]
  • Antithesis Versus Inspiration: Chinese Clothing in the Eyes of Western Theorists
    Antithesis versus Inspiration: Chinese Clothing in the Eyes of Western Theorists INTERCULTURAL RELATIONS ◦ RELACJE MIĘDZYKULTUROWE ◦ 2020 ◦ 2 (8) https://doi.org/10.12797/RM.02.2020.08.05 Magdalena Grela-Chen1 ANTITHESIS VERSUS INSPIRATION: CHINESE CLOTHING IN THE EYES OF WESTERN THEORISTS AND FASHION DESIGNERS Abstract Dress is a part of Chinese cultural heritage that has fascinated Western audi- ences for centuries. On the National List of Intangible Cultural Heritage of China, there are items related to textiles, embroideries and certain examples of Chi- nese clothing. This article analyzes issues connected with the different uses of Chinese dress in the West. To fashion theorists such as Quentin Bell, Elizabeth Wilson, Edward Sapir, and Thorstein Veblen, Chinese dress was the opposite of modern Western clothing and did not deserve to be called fashion. However, researchers such as Linda Welters, Abby Lillethun, and Jennifer Craik have op- posed viewing fashion theory through a Eurocentric prism in their desire to re- write fashion history. Fashion designers drew ideas from China, treating it as a source of inspiration to create their own original designs. For some of them, such as Yves Saint Laurent, it was a China of their imagination. In certain cases, they made use of porcelain designs or dragon motifs in their own collections, for instance, in designs by Roberto Cavalli and Tom Ford. The incorporation of Chinese garments into Western collections has also become visible. Keywords: fashion, dress, intangible heritage, China, West INTRODUCTION For centuries, China has been the subject of keen Western interest being perceived as a faraway land full of treasures, such as delicate silk and fine porcelain, and the center of a rich culture so distant from that of Europe.
    [Show full text]
  • Elektroniskais CD Katalogs Doc2012
    Valmieras integr ētās bibliot ēkas Cēsu iela 4, Valmiera, [email protected] Nozaru elektroniskie resursi Papildinats 21.11.2014 SATURA R ĀDĪTĀJS 00 Visp ārīgie zin ātnes un kult ūras jaut ājumi 01 Bibliogr āfija. Bibliogr āfiskie jaut ājumi. Katalogi 03 Visp ārīgie uzzi ņu izdevumi (enciklop ēdijas, v ārdn īcas u.tml) 06 Organiz ācijas. Asoci ācijas. Kongresi. Izst ādes. Muzeji 07 Laikraksti. Žurn ālistika 08 Kr ājumi 1 Filozofija. Psiholo ģija. Lo ģika. Ētika. 2 Reli ģija. Teolo ģija. Ateisms. 3 Sabiedrisk ās zin ātnes 31 Sociolo ģija. Statistika. 32 Politika. Politolo ģija. 33 Ekonomika 34 Ties ības. Juridisk ās zin ātnes 36 Labkl ājība. Soci ālā nodrošin āšana. Apdrošin āšana. 37 Izgl ītība. M ācīšana. Audzin āšana. Br īvais laiks 39 Etnogr āfija 5 Matem ātika. Dabas zin ātnes 51 Matem ātika 55 Ģeolo ģija.Geofizika. Klimatolo ģija 57 Biolo ģijas zin ātnes 59 Zoolo ģija 6 Lietiš ķā s zin ātnes. Medic īna. Tehnika. Lauksaimniec ība 61 Medic īna 62 Inženierzin ības. Tehnisk ās zin ātnes 63 Lauksaimniec ība. Mežsaimniec ība 64 M ājtur ība. M ājsaimniec ība. 65 Ražošanas, tirdzniec ības un transporta uz ņē mumu organiz ācija un pārvalde 66 Ķī mijas tehnolo ģijas. Ķī misk ā r ūpniec ība. P ārtikas r ūpniec ība 69 Celtniec ība. B ūvmateri āli. B ūvdarbi 7 Māksla. Izr ādes. Izklaide. Sports 71 M āksla. Izr ādes. Izklaide. Sports 72 Arhitekt ūra 73 Tēlniec ība. Keramikas m āksla. Met ālm āksla 75 Glezniec ība 77 Fotogr āfija. Kinematogr āfija 78 M ūzika 79 Izr ādes.
    [Show full text]
  • The Cloud Brocade and Yangzhou
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2008 The Cloud Brocade and Yangzhou Ying Wang University of Wisconsin-Milwaukee, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Wang, Ying, "The Cloud Brocade and Yangzhou" (2008). Textile Society of America Symposium Proceedings. 140. https://digitalcommons.unl.edu/tsaconf/140 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Cloud Brocade and Yangzhou Ying Wang [email protected] The cloud brocade, yunjin, is a unique production of Nanjing. The royal court had monopolized this kind of textile during the Yuan, Ming and Qing dynasties. The incredibly rich textures and fantastic designs of the so-called cloud brocade fascinate people even today. The textiles studied in this paper are from the collections of the Research Institute of Yunjin at Nanjing. This research institute has been working on preservation and excellence for the cloud brocade in its classical style and technique. Yunjin is the only kind of textile of China that cannot be replaced by modern weaving machines; in present-day China, there are less than 50 crafts workers that are experts in this skill. During the Kangxi and Yongzheng Emperors’ reigns of the middle Qing Dynasty, while yunjin production reached its high peak, there were 30,000 weaving machines in Nanjing and about 300,000 people in Nanjing district depended on it for their livelihood.
    [Show full text]
  • UNESCO Niematerialnego
    ISSN 1689 - 4642 Strona główna : O nas : Impressum : Literatura : Linki : Archiwum numerów : Spis publikacji : Kontakt Data wydania 29 stycznia 2010, redaktor prowadzący numeru: Numer 2/2010 (luty 2010) Paulina Ratkowska Artykuł Andrzej Bełkot, Paulina Ratkowska Karnawał w perspektywie Listy UNESCO Niematerialnego Dziedzictwa Kulturowego Słowa klucze: prawem chronione dziedzictwo kulturowe, karnawał, turystyka prawem chronionego dziedzictwa kulturowego, turystyka eventowa Streszczenie: Niniejszy artykuł prezentuje różne formy i aktywności prawem chronionego niematerialnego dziedzictwa kulturowego, ze szczególnym uwzględnieniem karnawału. Na Światowej Liście Dziedzictw Niematerialnego UNESCO znajduje się obecnie ponad 160 różnych aktywności a wśród nich zaledwie 3 karnawały. Co ciekawe, nie są to te najbardziej znane i najlepiej prosperujące na rynku atrakcji turystycznych. Autorzy artykułu starają się odpowiedzieć na dwa pytania - dlaczego tak mało karnawałów jest chronionych? A także dlaczego, mimo ochrony karnawały w Binche, Oruro oraz Barranquilla nie są tak często wybierane przez turystów jak imprezy w Wenecji czy Rio de Janeiro? Całość artykułu wieńczą rozważania jaką formą turystyki kulturowej jest wyjazd na karnawał - czy jest turystyka eventowa? Czy może raczej turystyka prawem chronionego dziedzictw kulturowego? Wstęp. Turystyka kulturowa pełnymi garściami czerpie z zasobów dziedzictwa kulturowego, przede wszystkim nieożywionego, ale także, coraz częściej - ożywionego. W programach standardowych wycieczek objazdowych, jak także
    [Show full text]