Zeitschriftenartikel zum Thema „Art and literature – history – 20th century“
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B. Dhanalakshmi, S. Pavithra, D. Daniel Sebastian, K. Vishnu und K. Swarna. „The Rise of Expressionism: When Literature Meets Art in History“. International Journal of Research Publication and Reviews 04, Nr. 01 (2023): 846–48. http://dx.doi.org/10.55248/gengpi.2023.4127.
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Expressionism was a literary and artistic avant-garde movement that originated in Germany at the turn of the 20th century. The expressionist writers and artists wanted to create and bring to life their reality, as well as their inner idea or vision of what they saw. Their approach to their subject matter was more creative. They thought it was completely pointless to make just an imitation of the world. Expressionism could be seen as the revival and development of the Romantic tradition because of this attitude turning away from physical reality. The expressionist drama introduced a novel method of directing, designing scenes, and staging. This study highlighted the journey of literature in terms of sharing knowledge and amazed the audience with greater visualization. The study of art's evolution and stylistic shifts over time in art history. Western art history, or the progression of art from the Renaissance to modern art, is the primary topic of this page. Many writers shared their thoughts, the truth behind the artwork, and the social and economic condition of the artist in the racing time of the 20th century
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Ulicka, Danuta. „Między światami. Rzeczywistość w literaturze – literatura w rzeczywistości – rzeczywistość literatury“. Przestrzenie Teorii, Nr. 28 (08.05.2018): 21–75. http://dx.doi.org/10.14746/pt.2017.28.1.
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The author attempts to reconstruct a short history of modern Polish literary studies not from the perspective of schools or methodological orientations that are usually applied, but from the perspective of what is known in sociology as cultural themes. This point of view offers the opportunity to (re)construct the process of continuity /discontinuity in the whole field of research focused on the problem of reference, which has been recognized as the most important one in Polish studies (as well as in Polish literature, and art) since its beginning in the first decade of the 20th century. In the broader scope the article attempts to rearticulate the definition of the discipline conventionally called “the theory of literature”, and to propose a new way of writing its history.
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Belichko, Nataliia, und Nadiia Marchenko. „GRAPHIC LITERATURE: DEFINITIONS, HISTORY, COMPONENTS“. Research and methodological works of the National Academy of Visual Arts and Architecture, Nr. 30 (09.12.2021): 29–37. http://dx.doi.org/10.33838/naoma.30.2021.29-37.
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Abstract. The article defines for the first time the concept of graphic literature a special kind of book and magazine graphics, which has become widespread in world art practice over the past century. It emphasizes that graphic literature combines elements of fine arts, literature, and cinema. It reveals the essence of graphic literature in the narrative of history through a sequence of images. It reviews the history of formation and development of this art form in world and Ukrainian art history. It outlines the specific features of graphic literature in certain countries. It gives the names of personalities who influenced its origin and spread around the world. The article is mainly focused on the analysis of the history of graphic literature development in Ukraine. It outlines the contribution of Ukrainian artists of the 20th century to its development. It emphasizes the reasons for the negative attitude to graphic works of literature in Soviet times. It considers in detail the spread of works of graphic literature in Ukraine at the beginning of the 21st century. It names Ukrainian personalities and specialized publishing houses that actively develop modern graphic literature. It outlines the basic structure, some important elements, and technique of graphic works. It emphasizes the similarity of the design of works of graphic and fiction. It reveals the main purpose of graphic literature in the most effective way to convey the main idea of a literary work to the reader and to get him/her interested with the help of visual images. It examines the genre diversity of graphic literature in Ukraine in the last decade. It analyses the dependence of the genres of graphic works on the age restrictions of the readership. It reveals the necessity to further study and analyse such graphic works from the art point of view. Graphic literature combines publications in which the narration is conveyed through hand-drawn and textual images in a certain sequence.
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Luu, Thuy Trung. „Drama in Ho Chi Minh City literature and art life“. Science and Technology Development Journal 18, Nr. 4 (30.12.2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.
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In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whole history of drama in Saigon-Ho Chi Minh City to collect experiences for the steady development of drama in this City in the future.
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Stalmaszczyk, Piotr. „Celtic Studies in Poland in the 20th century: a bibliography“. ZCPH 54, Nr. 1 (30.04.2004): 170–84. http://dx.doi.org/10.1515/zcph.2005.170.
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Introduction Celtic Studies are concerned with the languages, literature, culture, mythology, religion, art, history, and archaeology of historical and contemporary Celtic countries and traces of Celtic influences elsewhere. The historical Celtic countries include ancient Gaul, Galatia, Celtiberia, Italy, Britain and Ireland, whereas the modern Celtic territories are limited to Ireland, Scotland, Wales, Isle of Man, Cornwall and Brittany. It has to be stressed that Celtic Studies are not identical with Irish (or Scottish, Welsh, or Breton) Studies, though they are, for obvious reasons, closely connected.
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Bragina, Natalia, und Jelena Jermolajeva. „THE DOLL IN THE PAINTINGS OF THE LATE 19TH – EARLY 20TH CENTURIES: HERMENEUTIC ANALYSIS“. SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (20.05.2020): 616. http://dx.doi.org/10.17770/sie2020vol5.4859.
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The semantics of the doll in painting is not sufficiently investigated in art history and culture studies. The doll is never an accidental or unimportant component of a painting; it reveals deep psychological and symbolic undertones, complicates and concretizes the content of the painting. Each art style deals with this topic in its own way. The aim of the article is to analyse the interpretation of the image of the doll in various styles of painting of the second half of the XIX century – beginning of the XX century: in realistic painting, in symbolism, impressionism, and modernism. The research methods are the analysis of literature, the descriptive method, the hermeneutic method, and the comparative analysis method. The article may be useful for researchers in art and cultural studies, and can be used at school and university courses in the History of Art and Culture.
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Babunych, Yulia. „Ukrainian art studies of the 20th century: ways of development and main problems of research.“ Bulletin of Lviv National Academy of Arts, Nr. 51 (10.10.2023): 4–13. http://dx.doi.org/10.37131/2524-0943-2023-51-1.
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It has been investigated that Ukrainian art history in its historical development has followed a path characteristic of European artistic thought. The tasks faced by Ukrainian art history at the beginning of the 20th century are considered. During 1905–1917, art history in Ukraine acquired signs of structure, the directions of research were quite clearly defined. Based on the analysis of art studies of the 1920s, it was determined that they are characterized by a combination of clear retrospective vision, methodically correct handling of iconographic sources. The fact that the problem of national peculiarities of Ukrainian art history, its origins, driving factors, and priorities is of fundamental importance has been revealed. The article states that the Soviet totalitarian regime initiated a new stage of the «state» approach to the development of national inversions of science, literature and, in particular, art history. It was found out that specific conclusions regarding the national style were removed from many works of domestic art researchers by censorship. The need to organize and harmonize with the national historical concept of chronology and periodization of Ukrainian art history remains an equally urgent task. In this regard, the publication is supplemented with tables with a chronology of cultural events and publications of art-historical publications. It was found that Ukrainian art history actively developed in the context of the general national revival. With the beginning of totalitarian repressions and the liquidation of literary and artistic associations in the Ukrainian SSR (1932), the development process moved to western Ukrainian lands, primarily to Lviv. It was noted that in the post-war period, after well-known socio-political and socio-cultural changes, art history, art criticism, as well as artistic creativity throughout the territory of Ukraine, were united under one ideological slogan of socialist realism. It is emphasized that an important role in this difficult period was played by Ukrainian figures of culture, science and art of the diaspora. It is revealed that Ukrainian art history of the second half of the 20th century developed in difficult socio-political and cultural conditions. It has been found that the second half of the 20th century, marked by the repeated "revival" of the socialist realist method, nevertheless proved the continuity of the development of the national concept in the field of art history. A new stage logically began during the years of independent Ukraine. It is highlighted that the national concept of the historical development of Ukrainian culture and art has become the leading one in the domestic humanitarian field. It is important that the revival of Ukrainian art criticism has begun.
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Shaulov, Sergey S. „The Idiom “Twice Two is Four” in Russian Literature of the 20th Century“. Проблемы исторической поэтики 18, Nr. 3 (Juli 2020): 266–89. http://dx.doi.org/10.15393/j9.art.2020.8182.
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<p>The idiom “twice two is four” along with its variations is seen in the article as a marker of the situation of an “underground man”. In literature of the twentieth century the “underground” in its ethical and philosophical aspects has expanded its meaning, becoming the context of a utopian and antiutopian thought, absorbing the tragic experience of Russian culture after Dostoevsky. Of course, the widespread locution “as sure as twice two is four” does not always point at this variety of meanings, but it can be reached only in combination with the psychological type of the “underground man”. Thus, the image of Stalin in the novel “the First Circle” by Alexander Solzhenitsyn is considered as a variation of the “underground” consciousness. The problems of philosophical, history related to the evolution of this type of consciousness and actualized in this novel, remain important for modern literature. Another version of this philosophical collision is given in Victor Pelevin’s anti-utopian novel “S.N.U.F.F.”. In both of these cases, the situation of the underground person becomes a picture of a psychological and historical catastrophe. The negative development of the analyzed arithmetic formula in Russian literature of the 20th century encourages to look for another pole of tradition outside the “main” cultural domains. One of the variants of a moral escape from the trap of the “underground consciousness” can be found in the poetry of Alexander Bashlachev. The mythopoetical plot of the song “Verka, Nadka, Lyubka” is an exceptional variant of the development of the “underground man” topic. A starting point of the plot is just the formula “twice two is four”. The genre shift from lyricism to allegorical epic gives the poet an opportunity to reconstruct the Easter ideal of Russian culture, even if in a tragic and provocative form, close to the tradition of Russian foolishness for Christ.</p>
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Hryhorov, V. „Monumental and decorative art of the second half of the 20th century in specialized literature“. Research and methodological works of the National Academy of Visual Arts and Architecture, Nr. 27 (27.02.2019): 99–104. http://dx.doi.org/10.33838/naoma.27.2018.99-104.
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The article deals with a number of issues highlighted in the research of monumental painting during the 1960–2000s, and follows the development of art studies literature during the specified period. Ukrainian monumental painting during the second half of the 20th century evolved rather unequally, which affecte the art criticism reflections. In the 1960's and 80's the active and dynamic development of monumental art took place. Research in this area also reached the peak of its popularity. For example, the article of I. Pronina contains a review of publications from 1973–1974, and the author brought the statistics indicating more than 200 works. (180) Since the mid-1960's, academics have been increasingly focusing on monumental art. The attitude to monumental painting in the art history literature of the 1960's is ambiguous. However, most researchers are still critical of post-war practice and consider monumental works of the late 1950`s and 1960`s as a step forward. The distinctive differences between the 1960's and 1970's – 1980's lie in various attitudes towards themes and scenes of the monumental painting. In the 1960's the monumentality was associated with the laconic content, using a set of all understandable associative attributes. The expansion of the range of themes in monumental painting in the professional literature occured in the 1970's. Since the research problem stands at the crossroads of various branches of art, important scientific advancements were reflected in such prominent professional publications as: "Architecture of the USSR", "Decorative art of the USSR" and "Fine Arts". In the 1970's the publishing house "Soviet artist" released a series of articles compilations called "Soviet monumental art." The state of monumentalism significantly changes in 1990's as there was a significant decline in the activity of this artistic direction. At this time the monumental painting fell into the field of wide-scale artistic studies. In the professional literature of the last decade the scope of art study themes has changed to a certain extent as the art historians more often address the issues previously tabooed in Soviet times, and some of them partially or fully relate to the monumental painting. To such themes belong the Sixties and Boichukizm. Today the problem of the preservation of Soviet monumental works sharply appears. Many authors turn to the theme of monumental art in order to attract the attention of society to the rapid destruction of mosaics and wall murals, and to prove their value for Ukrainian fine arts.
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TRAYKOVA, Elka. „THE POSSIBLE AND IMPOSSIBLE HISTORIES OF BULGARIAN LITERATURE IN THE 20TH – 21TH CENTURY“. Ezikov Svyat volume 22 issue 1, ezs.swu.v22i1 (23.02.2024): 110–20. http://dx.doi.org/10.37708/ezs.swu.bg.v22i1.11.
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The article tries to present a possible literary-historical reconstruction of the histories of Bulgarian literature published in the 20th – 21th century. It traces how literary history is read and conceptualized through them in different sociocultural contexts. It marks the mechanisms through which literary history has built the canon of Bulgarian literature upholding its unique and unchangeable value. The study outlines the various ways in which sources from different periods sort and rearrange the authors of literature and their works chronologically or hierarchically in a complex historical megatext and how this megatext can reveal or forget, praise or deny some basic literary and aesthetics features. Attention is paid to the way they construct different models of national spiritual plot through their dialogue and polemics. This defines literary history not only as memory of the past and respect for the knowledge that is stored in documents and archive records, but also as individual authorial conceptions. In this sense, what is important in the creation of the literary-historical narrative is not only the aesthetic and sociopolitical context, but also the individuality of the author who creates both literature and history. Literary histories as a single author’s project or as a collective academic experience, presenting an attempt at a fundamental conceptualization of the processes in art or just fragmentary plots can be reminded of and read as objective or manipulated narratives about a national literature. They can be interpreted in a unique cultural context where many creative and existential plots meet, intersect, discuss and complement.
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TRAYKOVA, Elka. „THE POSSIBLE AND IMPOSSIBLE HISTORIES OF BULGARIAN LITERATURE IN THE 20TH – 21TH CENTURY“. Ezikov Svyat volume 22 issue 1, ezs.swu.v22i1 (23.02.2024): 110–20. http://dx.doi.org/10.37708/ezs.swu.bg.v22i1.111.
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The article tries to present a possible literary-historical reconstruction of the histories of Bulgarian literature published in the 20th – 21th century. It traces how literary history is read and conceptualized through them in different sociocultural contexts. It marks the mechanisms through which literary history has built the canon of Bulgarian literature upholding its unique and unchangeable value. The study outlines the various ways in which sources from different periods sort and rearrange the authors of literature and their works chronologically or hierarchically in a complex historical megatext and how this megatext can reveal or forget, praise or deny some basic literary and aesthetics features. Attention is paid to the way they construct different models of national spiritual plot through their dialogue and polemics. This defines literary history not only as memory of the past and respect for the knowledge that is stored in documents and archive records, but also as individual authorial conceptions. In this sense, what is important in the creation of the literary-historical narrative is not only the aesthetic and sociopolitical context, but also the individuality of the author who creates both literature and history. Literary histories as a single author’s project or as a collective academic experience, presenting an attempt at a fundamental conceptualization of the processes in art or just fragmentary plots can be reminded of and read as objective or manipulated narratives about a national literature. They can be interpreted in a unique cultural context where many creative and existential plots meet, intersect, discuss and complement.
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Jindra, Miroslav. „Homosexual parenthood in children’s literature“. Acta Univeristatis Lodziensis. Folia Librorum 1, Nr. 28 (25.06.2019): 105–24. http://dx.doi.org/10.18778/0860-7435.28.05.
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Homosexuality in children’s literature is still a controversial topic in many countries of the world. Not only are people afraid to talk about this theme with children, they do not know how. The history of this topic in children’s literature dates back to the 80s of the 20th century, when the first books were published. In 20th century, human society went through many changes which were reflected in all the fields of art (theatre, fine arts, literature, etc.). Writers had a need to familiarise children readers with ‘taboo topics’ such as homosexuality, death, drugs, etc. They wanted to introduce homosexuals as ordinary men and women, who live their own lives with their joys and worries. Today, we can find three main themes in children’s literature: coming out, the life of homosexuals and homosexual parenthood. Each theme has its own specifics and typical reader age group of children or youth. This characterisation can help us to deeper identify the topic. The literature offers children and youth better and easier cognition of the world with its differences. The aim is to learn about the history of homosexuality in children’s literature and go deeper into its individual themes, especially homosexual parenthood. Children need to know everything about life and have no taboos. Why are we afraid to talk about it?
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Ozola, Silvija. „ALEXANDER STREKAVIN’S (1889–1971) DRAWINGS OF MITAU – EVIDENCE FOR THE 19TH– EARLY 20TH-CENTURY INVENTIONS“. SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (28.05.2021): 653–79. http://dx.doi.org/10.17770/sie2021vol4.6203.
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Mitau, the former capital of the Duchy of Courland and Semigallia, became the Courland Governorate centre with the Governor’s residence in a palace on an island formed by the Driksa, the branch of the Lielupe River, and great changes have taken place in this city. Artist Alexander Aleksandrovich Strekavin, who born in Mitau on 17 September 1889, studied art history, read books, investigated documents in the museum, listened to people’s stories and completed materials about events and the development of his native city. His drawings introduce with the new iron bridge for traffic and technical innovations – bicycles, the first car in the Baltics and the first phonograph in Mitau, clothes of citizens during the 19th century and at the beginning 20th century. Since the 1950s, six notebooks in Latvian with memoirs recalling by Aleksander Strekavin and an illustrative appendix – a collection of his drawings “The Atlas of Notes on Ancient Mitau” are in the funds of Jelgava History and Art Museum of Ģederts Eliass. Research object: drawings of artist Alexander Strekavin. Research goal: analysis of changes in Mitau during the 19th century and at the beginning 20th century. Research problem: Strekavin’s drawings stored in the funds of Jelgava History and Art Museum have not been studied. Research novelty: analysis of information on technical innovations included in “The Atlas of Notes on Ancient Mitau”. Research methods: studies of published literature, cartographic materials and archive documents.
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Lenzi, Iola. „Early contemporary art in Vietnam: Đổi Mới shift as spur of innovation in globalizing 1990s-Hanoi“. Russian Journal of Vietnamese Studies 6, Nr. 1 (15.01.2022): 73–85. http://dx.doi.org/10.54631/vs.2022.61-105389.
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The social impacts of 1986 Đổi Mới economic reform in Vietnam are well-studied. However, connections between Đổi Mới change and 1990s artistic transformation are not. This study examines these ties to reveal how post-Đổi Mới, outside Vietnamese mainstream art, and in not yet globally-open Hanoi, vanguard expressions emerged. Using artwork analysis and cross-disciplinary literature, this paper spotlights how material and social landscapes of 1990s-Hanoi impacted art. It uncovers parallels with Southeast Asian contemporary art to conclude that Hanoi vanguard practices constituted early Vietnamese contemporary art expanding regional 20th century art history without obligatory recourse to outside models.
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Abdigapbarova, Zh. „Gender Issues in the Kazakh Literature of the Early 20th Century“. Iasaýı ýnıversıtetіnіń habarshysy 126, Nr. 4 (15.12.2022): 64–78. http://dx.doi.org/10.47526/2022-4/2664-0686.06.
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Women’s rights and fate have always been a significant issue. In the article, the author reviews the gender issues in human history and analyzes the literary theoretical and historical aspects of the problem of women in Kazakh society of the early 20th century with the help of Kazakh intellectuals’ works which were written to solve the problems of women, and literary works and journalistic articles of that time. The Kazakh people valued the role of women, therefore, paid a lot of attention on the upbringing, behavior of a girl and planned her general life. There were times when a Kazakh woman rode a horse, fought the enemy and ruled the country wisely. But over time, the issue of women in Kazakh society has become more complicated. At the beginning of the 20th century, Alash intellectuals, who understood the importance of gender issues in Kazakh society, wrote special articles and works of art to influence people’s consciousness. It was disseminated to the public through the media. The first novel in Kazakh literature was dedicated to the issue of women. Women’s civil rights and their place in society began to find a positive solution in the early 20th century with the intervention of Alash activists. In the research article we analyzed M. Dulatuly’s «Bakytsyz Zhamal» (Poor Zhamal), Zh. Aimauytov’s «Akbilek» novels, also M. Auezov, M. Zhumabayev, N. Kulzhanova’s journalistic articles. In this article, the author examines the origins of the struggle for women’s equality in the early 20th century, and the specific actions of Kazakh intellectuals to protect women’s civil rights. The study is based on historical data and literary and journalistic works. The results of the hard struggle is proven by the works written in that period.
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Sneis, Jørgen. „Literatursoziologie als Kunstsoziologie und die Rolle des Ästhetischen. Beobachtungen zur Disziplinentektonik im ersten Drittel des 20. Jahrhunderts, am Beispiel Heinz Sauermanns und René Königs“. Internationales Archiv für Sozialgeschichte der deutschen Literatur 46, Nr. 2 (09.11.2021): 596–619. http://dx.doi.org/10.1515/iasl-2021-0030.
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Abstract This paper explores the sociology of art as a subfield of disciplines other than sociology in the first few decades of the 20th century. Special attention is paid to the so-called “allgemeine Kunstwissenschaft” as a conceptional framework for the sociology of art, as described by Heinz Sauermann and René König. It is argued that notions of the artwork’s aesthetic properties, traditionally subject to philosophical aesthetics, co-determine the scope and range of sociological approaches to art. This is also the case with the sociology of literature.
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Azmanova-Rudarska, Elena. „Fashion and Style. Bulgarian Modernism - in the 20s and 30s of the 20th Century“. Balkanistic Forum 32, Nr. 3 (15.09.2023): 317–26. http://dx.doi.org/10.37708/bf.swu.v32i3.19.
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The article examines the main literary, philosophical and cultural settings in N. Stoyanova's monographic study "Decorations and grimaces". N. Stoyanova studies Bulgarian literary modernism both through the topic of fashion and through its symbolism. It is at the point of contact between fact and fiction, between literature and its border fields - art, cultural studies, history, psychology, philosophy - that the unique essence of Stoyanova's literary analysis of fashion and its mechanisms of interpretation is revealed. Works by C. Mutafov, K. Konstantinov, N. Rainov and others are analyzed.
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Chernysheva, Anna Igorevna. „N. N. Zeddeler and A. P. Somova-Zeddeler: the forgotten names of early 20th century Russian art. Japonism in Russian printmaking at the beginning of 20th century“. Secreta Artis 5, Nr. 1 (09.06.2022): 6–23. http://dx.doi.org/10.51236/2618-7140-2022-5-1-6-23.
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The term japonism refers to a movement within 20th-century Russian art that has so far been insufficiently explored. In the meantime, its popularity at the turn of the 19th and 20th centuries coincided with the extraordinary blossoming of Russian color printmaking. N. N. Zeddeler and A. P. Somova were among those artists, who, along such revered masters like A. P. Ostroumova-Lebedeva and V. D. Falileeva, made a substantial contribution to the development of this art style. To date, their work has not received close attention from researchers. Likewise, there is no literature that would provide a systematic analysis of their legacy, save for brief mentions in the periodic press of that period or publications dedicated to exhibitions of 1900-1910s, in which the artists took part. N. N. Zeddeler and A. P. Somova-Zeddeler were well-known in the Russian and European artistic circles at the beginning of the century. Having acquired their education in Munich and Paris, they produced an oeuvre that fit perfectly into the context of early 20th century art and added essential touches to the aesthetic vision of the world emerging at that time. However, the work of these masters was not met with the appreciation it deserved and was eventually forgotten. It is worth noting that the task of mapping out the full biography of both artists appears to be extremely challenging due to a variety of reasons: their departure from artistic practice after the outbreak of the First World War, fragmentary and meager archival material, a small number of works that have survived till our time, the tragic and difficult fate of N. N. Zeddeler and A. P. Somova-Zeddeler… Thus, the purpose of the article is to fill in one of the gaps in the Russian history of art of the 20th century. The author examines the engravings by N. N. Zeddeler and A. P. Somova-Zeddeler from the collection of the Pushkin Museum created between 1900 and 1910, which were previously not studied by researchers.
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Hillebrandt, Claudia. „„Ich habe keine Lust, mich Heiligabend mit diesen Spießern rumzuärgern!““. Internationales Archiv für Sozialgeschichte der deutschen Literatur 48, Nr. 1 (01.06.2023): 195–218. http://dx.doi.org/10.1515/iasl-2023-0003.
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Abstract This paper puts forward the thesis that the social image of the early federal republic of Germany displayed in Loriot’s œuvre is mainly characterized by this society’s inability to understand each other or it’s own traditions and art. Loriot’s work thus provides a skeptical point of view towards the process of modernization Germany has passed through from the 19th to the 20th century.
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Bakumenko, Vitalii M. „Creative Destiny of the Artist A. Kravchenko“. Bibliotekovedenie [Library and Information Science (Russia)], Nr. 2 (18.04.2011): 77–80. http://dx.doi.org/10.25281/0869-608x-2011-0-2-77-80.
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The paper is about the outstanding Russian artist A. Kravchenko, who left an enormous artistic legacy. He went down in history of book graphics and bookplates of the 20th century as a creator of unique style of wood engraving, which characterized by a remarkably picturesque and poetic interpretation of the world literature images. The artist was also a great teacher, who trained a galaxy of his followers in the art of wood engraving, which made a significant contribution to the book art and bookplates of our time. Some of his students have risen to international fame.
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Kozhukharov, Roman R. „“Miriskusniki” and the genesis of acmeistic searches (about the review of one exhibition)“. Philological Sciences. Scientific Essays of Higher Education 2, Nr. 2 (März 2024): 94–100. http://dx.doi.org/10.20339/phs.2.2-24.094.
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The article presents the experience of comprehension V. Narbut’s publication “Mir Iskusstva” (“The World of Art”) in the St. Petersburg newspaper “Theater and Sport”. The article, dedicated to the exhibition of the same name, is written in the genre of art criticism, unique for the poet’s creative biography, and is perceived as a capacious manifestation of the author’s artistic preferences. The significance of comprehension this publication is due to its chronological correlation not only with the beginning of the poet’s creative path, but also with key events in the history of Russian literature at the beginning of the 20th century.
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Melnychuk, Anastasia. „THE DIMENSION OF «EXPERIMENTAL CULTURE»: ANATOMY, SOCIAL PEDOLOGY AND PHYSIOLOGICAL REFLEXOLOGY AS COMPONENTS OF ART EDUCATION AT THE KYIV ART INSTITUTE“. Research and methodological works of the National Academy of Visual Arts and Architecture, Nr. 30 (09.12.2021): 77–82. http://dx.doi.org/10.33838/naoma.30.2021.77-82.
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Abstract. The article examines the problems of art education in the 1920s of Kyiv Art Institute in the context of interdisciplinary links and tasks of ideological education. The educational process in art educational institutions, such as Kyiv Art Institute, received its ideological and philosophical basis in the early Soviet period, according to which traditional approaches to art education were deconstructed, curricula were changed, new disciplines were introduced, etc. Understanding the essence of the educational process in this period is the key to understanding the artistic culture of the early USSR in general. In the course of this study, both general scientific methods, such as formal analysis, historical, biographical, typologically systematic, problem and logical, and empirical, as well as cultural and historical, which belongs to art history methods, were used. For the first time, this study highlights the origins and stages of formation of such disciplines as Anatomy, Social Pedology and Physiological Reflexology, which were taught at Kyiv Art Institute in the 1920s of the 20th century. The article makes up for an insufficiency in the data about the history of development and scientific and methodological approach in teaching these disciplines based on the autor’s processing of archival documentation kept in the funds of the Central State Archive Museum of Literature and Art of Ukraine. The aim of the article is to study the curriculum of the Kyiv Art Institute in the 1920s of the 20th century on the basis of primary sources, to analyze new approaches and interdisciplinary connections of the new curriculum, the place and significance of such disciplines as Anatomy, Social Pedology and Physiological Reflexology. The article is based on primary sources and archival data, such as abstracts of lectures on Ukrainian, Pedology, Anatomy, Philosophy, which were listened to by Professor O. K. Bohomazov, were found by the author of the article in the funds of the Central State Archive Museum of Literature and Art of Ukraine.
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Makarenko, V. P. „The Problem of the Applicability of the Concept of Paradigm to the Philosophical Process“. Политическая концептология: журнал метадисциплинарных исследований, Nr. 4 (28.12.2023): 6–11. http://dx.doi.org/10.18522/2949-0707.2023.4.611.
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Since the second half of the 20th century, Kuhn's concept has been used in philosophy of natural science, sociology and history of science, biology, medicine, political sciences, economics and history of economics, anthropology and history of anthropology, psychology and history of psychoanalysis, theory of art and literature, mathematics, linguistics. A.P. Ogurtsov and S.S. Neretina systematized the controversial issues of this concept, including the question of the qualification of philosophy as a discipline. The author joined this discussion in the process of reconstructing the political philosophy of M.K. Petrov. This article discusses several new topics related to the interpretation of T. Kuhn's concept.
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Egerev, Sergey. „Tenacious Stereotypes and Inflated Expectations. Review of the Book “Admiring the Academic Class: Reflection of the Social History of Soviet Science in Literature, Art and Public Rhetoric” by K. Frumkin“. Science Management: Theory and Practice 5, Nr. 4 (25.12.2023): 201–0. http://dx.doi.org/10.19181/smtp.2023.5.4.12.
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The review notes the significance of the monograph. In his book, the cultural studies scholar Konstantin Frumkin has collected unique materials on the evolution of the theme of science and scientists in Soviet (Russian) culture throughout the 20th century. The author develops two parallel story lines. The first line presents an analysis of the historical development of Russian science in the 20th century. The second line presents a detailed list of templates and stereotypes of the academic environment that have developed in art. It is shown that the most widespread and iconic in Soviet art is the representation of the positive character of scientist as a self-sacrificing enthusiast. Other stereotypes under discussion include scientists’ self-sacrifice and their fighting qualities which allow them to resist impostors in science. The themes of struggle with academic plagiarism and careerism were developed. Under the sign of state impatience and inflated expectations, the obligatory theme of the connection between science and production was elaborated. An important conclusion is drawn about the tenacity of stereotypes which were not hindered by the evolution of Soviet society’s attitude to science.
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Alsancakli, Sacha. „The Early History of Kurdish Studies (1787–1901)“. Die Welt des Islams 56, Nr. 1 (19.04.2016): 55–88. http://dx.doi.org/10.1163/15700607-00561p05.
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The history of Kurdish studies in the period before the 20th century has been neglected. In the few instances where it has been discussed, it was treated as a mere opening act paving the way for later developments. This has led to anachronistic projections of the contemporary state of the field onto the past. Furthermore, the uncontextualized approach generally adopted has not allowed for a critical account of the field’s development and the way it reflected global trends and evolutions. By doing this work of contextualization, this article wishes to provide a better understanding of the way the field developed before the 20th century and to identify the specific characteristics that emerged through this development.
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TERKI, NASSIMA. „When Literature Turns into History: Heart of Darkness (1902) by Joseph Conrad and Avatar (2009) by James Cameron“. LITERATURE AND FILM / LITTÉRATURE ET FILM / LITERATURĂ ȘI FILM 32, Nr. 2 (2024): 77–86. http://dx.doi.org/10.47743/aic-2023-2-0007.
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More than one century after the publication of Heart of Darkness, Joseph Conrad’s conceptualization of the world and representation of both the Whiteman and the African black characters still have an impact on the representation of the Other whether African or nonAfrican. This article examines the legacy of Conrad’s novel through James Cameron’s Avatar produced by 20th Century Fox and released in 2009. It mainly refers to Roland Barthes’s view of connotation and denotation and art, in this case image and cinema, as a means to transit meaning. His framework is developed in Mythologies (1972), ImageMusic-Text (1977) and Elements of Semiology (1986). The analysis relies on specific selected citations from Conrad’s novel and their equivalent visual quotations from Cameron’s media text focusing on four signs. I study Avatar as a text that reproduces Conrad’s novel, which certifies the internal and external impact of expressions such as “the interminable waterway” and “the European genius” on twenty-first century cinema. Conrad’s masterpiece still draws the faces of the non-Western that Hollywood unconsciously reproduces.
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Melnik, N. D. „The Magazine “Zolotoe runo” (1906–1909) as a Reflection of the Artistic Life of Russia at the Beginning of the 20th Century“. Vestnik NSU. Series: History and Philology 20, Nr. 6 (11.08.2021): 62–73. http://dx.doi.org/10.25205/1818-7919-2021-20-6-62-73.
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Purpose. The article studies the history of the magazine “Zolotoe runo” (“Golden Fleece”) that has been publishing in Moscow from 1906 till 1909. It was a project of the young art lover, millionaire N. P. Ryabushinsky, who decided to continue the mission of “miriskusniki” (members of the “World of Art” movement) and promote the aesthetic principles of symbolism, which he saw as the most promising style of art at the beginning of the 20th century.Results. Based on the analysis of the memoirs written by contemporaries, correspondence between the representatives of the Russian cultural elite, publications in the periodical press, as well as outcomes of modern research, the author argues that the magazine “Zolotoe runo”, providing its pages to outstanding writers and publishing works of iconic artists and articles about their works, became one of the most influential periodicals about art in Russia.Conclusion. This research shows that, having said a new word in art and journalism, the magazine “Zolotoe runo” became a worthy reflection of the artistic life of Russia at the beginning of the 20th century.
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Perfilieva, I. Yu. „Architectural Motifs in Jewellery Art of the 20th — the First Quarter of the 21st Century“. Art & Culture Studies, Nr. 4 (Dezember 2023): 310–43. http://dx.doi.org/10.51678/2226-0072-2023-4-310-343.
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Throughout the history of jewellery, craftspeople have appealed to architectural motifs in the composition of church utensils or jewellery. In different historical periods, this process developed in accordance with the aesthetic requirements of the time, the peculiarities of the artistic and stylistic development of art in general and jewellery in particular. As a result, a number of certain artistic techniques have been formed; they were used by masters in past eras and are used by modern artists and jewellers, as well as architects and designers working in this field of decorative art. This article is devoted to the analysis of the formation and development of these artistic and stylistic techniques at the present stage. This topic has not yet been adequately reflected in scientific literature. The research problem is only mentioned in general works of foreign and Russian researchers on various historical periods (to a greater or lesser extent). Most interest in the topic is shown by bloggers who popularize certain brands or master jewellers in various electronic resources. In the first quarter of the 21st century, the appeal to architectural motifs as a key element of artistic, figurative, and compositional solutions in jewellery became very widespread both in the luxury segment and in the author’s jewellery art. This article is the first experience of art criticism research on this artistic and stylistic phenomenon. The research uses descriptive, formal, stylistic, and comparative methods. As a result, the author of the article identifies and formulates the main methods of using architectural motifs in the compositional, artistic, and figurative solutions in works of modern author’s jewellery art.
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Gallus-Price, Sibyl. „Why Photography Mattered (1847) As Art More Than Ever Before“. Praktyka Teoretyczna, Nr. 4(50) (28.03.2024): 51–74. http://dx.doi.org/10.19195/prt.2023.4.3.
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In the late 20th-century, landscape photographs that were never meant as art come to play a central role in the critique of one notion of what art is. Rosalind Krauss begins her attack on Modernism by mobilizing the indexical qualities of the photograph, holding up Timothy O’Sullivan’s 19th-century landscape photographs as the exemplar. This essay considers Krauss’s model in relation to César Aira’s contemporary revival of the 19th century landscape painter Johann Moritz Rugendas who is conceived, I argue, under the sign of the photograph. Conceptually recasting the landscape— the locus classicus for the crisis of Modernist art— through Rugendas, Aira transforms the painterly genre into an alternative neuro-aesthetically charged “procedure.” Aira’ s landscape painter turned photographer serves, I contend, both as an emblem for Aira’s own relation to writing and as an artifact of Krauss’s post-Art world.
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Богдан, О. М. „КАТЕГОРІЯ ПАМ’ЯТІ В РОМАНІ РОМЕНА ГАРІ «ПОВІТРЯНІ ЗМІЇ»“. Humanities journal, Nr. 2 (29.07.2019): 64–72. http://dx.doi.org/10.32620/gch.2019.2.07.
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Humanity has always thought about memory, its features, its role and significance in an individual’s life and society. However, in the 20th century much more attention was paid to this characteristic of human mind in science and art than before, besides, the interpretations of this concept have become quite changeable and diverse.At the end of the 19th and the beginning of the 20th century in the scientific field, memory was viewed as a purely personal, individual act of recollection (A. Bergson, Z. Freud), however, later the theories of collective memory and the memory of entire groups and nations appear (M. Halbvaks, P. Nora, I. Assman). Due to the tragic events of the 20th century history and the gradual passing away of its witnesses, the subject of memory also becomes popular in art, especially in literature.The purpose of the article is to determine what place in the artistic basis of Romain Gary's «The Kites» the category of memory occupies, what meaning it carries and in what varieties it is used in the novel.The relevance of the article is due to the fact that since 2018 Romain Gary's novel «The Kites» has been included in "Foreign Literature" curriculum of secondary education as one of the optional works, and the theme of memory is only mentioned but not thoroughly studied in the existing critical articles.Having carried out the research, we may conclude the following: 1. Memory as a characteristic of human mind and a socio-cultural phenomenon becomes the object of close attention of both scholars and people of art in the twentieth century. 2. Such interest to the above-mentioned phenomenon was caused, firstly, by the peculiarities of the historical process in the 20th century, full of disastrous events that people tried to forget as a traumatic experience; secondly, by the emergence of new concepts of memory in philosophy and psychology.For Romain Gary and the heroes of his novel «The Kites», memory is a pledge of active citizenship of a person, a source of threat to his existence and an erroneous perception of reality, lack, weapon and a source of strength in the fight against evil, a pledge of peace and harmony, sense of life and redemption from non-existence and a path to eternity for a certain person.
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Hovhannisyan, Susanna. „Dostoevsky in the Literary Life of Armenia“. Неизвестный Достоевский 11, Nr. 1 (März 2024): 184–205. http://dx.doi.org/10.15393/j10.art.2024.6921.
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The article examines the path of Armenian Dostoevsky studies — starting from the 80s of the 19th century. It was then that interest in Dostoevsky’s work arose in Armenian literary circles — in particular, in the periodicals of Tiflis, K. Polis, Petersburg, Paris. At the origins of Armenian studies of the Russian writer are the editors of Armenian newspapers and magazines Arpiar Arpiaryan, Levon Bashalyan, and Arshak Chopanyan. For the first time to Dostoevsky’s work contacted the editor of Tiflis newspaper “Mshak” Grigor Artsruni in 1880; he tried to consider the work of the novelist in the context of mysticism and religious views. And the first work of the Russian writer in the Armenian language was the story “Notes from the Dead House,” which was printed in 1885 in the weekly “Araks” published in Petersburg. The first work of the Russian writer translated into Armenian was the story “The Boy at Christ’s Christmas Tree,” published in 1886 in the Constantinople newspaper “Masis.” The translation was not signed. In 1892, in the St. Petersburg bulletin “Araks” were published “Notes from the House of the Dead.” The unknown translator left the work unfinished. The new translation of the story was done by Yervand Otyan. In subsequent years, the works of Dostoevsky were translated by K. Mirianyan, Shirvanzade, S. Shalchyan, G. Lerentz, K. Surenyan, A. Mazmanyan, A. Mekhakyan, A. Hovhannisyan and others. The writer’s death became an occasion for new reflections on his life and work. At the next stage of Armenian history, at the beginning of the 20th century, discussions about the novelist’s work became more often, lectures and discussions were organized at the literary evenings of the Caucasian Society of Armenian Writers. Many Armenian writers and critics recognized the influence of Dostoevsky not only on their creativity, but also on world perception (A. Oshakan, K. Surenyan, Nar-Dos, Shirvanzade). Some of them became translators of Dostoevsky (Surenyan, Shirvanzade), and some initiated new translations (Arpiaryan, Chopanyan). In the second half of the 20th century, Karpis Surenyan, Levon Mkrtchyan and Karen Stepanyan became the most important actors of the Armenian Dostoevsky studies. Remarkable typological and comparative parallels were drawn between Dostoevsky and Mickiewicz, Narekatsi, Shakespeare, Tolstoy, Schiller, Cervantes and other authors.
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Butkus, Vigmantas. „The Image of Ancient Lithuania in Latvian Literature of the First Half of the 20th Century“. Colloquia 51 (24.07.2023): 13–30. http://dx.doi.org/10.51554/coll.23.51.02.
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The image of ancient Lithuania in Latvian fiction of the first half of the 20th century is usually revealed through works of various genres and uneven artistic quality depicting the ancient history of Latvia and not the history of Lithuania directly. Nearly all such literary pieces are on the tribes that lived in the southern part of Latvia: the Selonians, and especially the Semigallians, whose history is inseparable from Lithuanian history. Unlike the works of 19th-century Latvian authors, 20th-century works no longer depict ancient Lithuanians only in a romantic way, as heroic people that belonged to the same Baltic tribe, but as a powerful and hostile force that threatened the Latvian lands. The image of ancient Lithuania containing the most common historical characteristics prevails; however, it also contains a lot of authorial invention (e.g. the authors write about imaginary “Lithuanian princesses,” or they expand the boundaries of 13th-century Lithuania in an unrealistic way, etc.). The realities of ancient Lithuania, e.g. the historical names and events, are usually presented without any further explanation, which is a sign of an attitude and belief that the reader of the time had sufficient information on the subject.
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Sernelj, Téa. „Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan“. Asian Studies 8, Nr. 1 (10.01.2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.
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Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.
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Korshunova, Evgeniya A. „“The manor as an image of the existence of a person of culture: I.S. Shmelev, B.K. Zaitsev, S.A. Yesenin, etc.”: Review of the book by M.V. Skorohodov“. Philological Sciences. Scientific Essays of Higher Education, Nr. 3 (Mai 2023): 160–62. http://dx.doi.org/10.20339/phs.3-23.160.
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The review of the book by M.V. Skorokhodov “The manor in Russian literature of the late 19 — first third of the 20th century: An interdisciplinary approach” (Moscow, 2020) is presented. The review analyzes M.V. Skorokhodov’s attempt to describe and study the phenomenon of the Russian estate based on the works of S.A. Yesenin, N.A. Klyuev, I.S. Shmelev, B.K. Zaitsev, etc. To solve this problem, the author applies an interdisciplinary approach that allows to involve the terminological apparatus of art history and geography. For the first time, the author defined and formulated the mission of the literary museum.
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Luchka, Lyudmila. „Book heritage of Dnipropetrovsk region of the 20s–30s of the 20th century: historical review and analysis of sources“. Grani 24, Nr. 3 (30.03.2021): 56–61. http://dx.doi.org/10.15421/172126.
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The article deals with general state of the national book publishing business of the 20s – 30s of the 20th century. The author reveals and analyses the publications of the university book collection valuable in terms of content, design, and time of printing. The history and destiny of some books of educational, scientific and fiction literature are researched. The author’s attention is focused on the problems of book publishing process in Ukraine, in particular books of social, economic, agricultural and technical content. The activity of well-known Ukrainian publishing houses of this period is analysed and a bibliographic review of the repertoire of the publications is given. The author notes a significant percentage of academic literature among Ukrainian book production, in particular the works of scientists in various fields of knowledge.The role and place of publishing houses of the regional level are determined. The literature devoted to the World War I is an important contribution to the development of the Ukrainian publishing space. General picture of preparation and printing of works of Ukrainian fiction literature and popular science editions from various branches of knowledge is created. The attention of publishing houses was paid to the preparation of textbooks for rural schools. the creation of popular serial publications was a special feature. Lviv magazines, bulletins on the history and geography of Ukrainian lands are valuable in terms of content. Materials on censorship oppression and seizure of books on Ukrainian science, literature and art are provided. A number of local history publications related to the national book heritage are revealed and analysed, in particular by D.I. Yavornitsky, I.I. Ohienko, L.V. Pisarzhevsky and others. During the scientific research, the author tries to highlight the unknown and forgotten pages of book printing in Ukraine, which are related to development and inhibition of social, economic and political processes.
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Kalniņa, Ieva. „THE WAY TO LATGALIAN LITERATURE DURING THE 90s OF THE 20TH CENTURY“. Via Latgalica, Nr. 10 (30.11.2017): 94. http://dx.doi.org/10.17770/latg2017.10.2767.
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During the 90s of the 20th century revival of Latgalian literature took place in the Republic of Latvia. It was a gradual process; in 2001 in “History of Latvian Literature" created by the Institute of Literature, Folklore and Art of the University of Latvia (ILFA) Ieva E. Kalniņa wrote about poetry of the 90s where she admitted that “it is already quite customary that poetry can be read in Latgalian written language”. Recent studies of Latvian literature in the 90s of the 20th century show that authors have different attitude towards Latgalian literature: Guntis Berelis has not included the revival of Latgalian literature in his list of the new phenomena of Latvian literature in his book “History of Latvian Literature”; among the ILFA researchers only Ieva E. Kalniņa mentions Oskars Seiksts, Anna Rancāne, Andris Vējāns, Osvalds Kravalis along with Vends and Livs among other phenomena of the 90s poetry; meanwhile in the review of prose and drama Latgalian literature is not mentioned at all. In 2007 Māris Salējs in his essay “Reflection on Latvian Literature 2000–2006” included Latgalian poets in the description of Latvian poetry, thus Valentīns Lukaševics and Juoņs Ryučāns together with Kārlis Vērdiņš and Marts Pujāts make up a characteristic trend. In the description of other genres Latgalian literature is not mentioned in this publication either. In this article the similarities and differences of Latvian and Latgalian literary revival process of the late 80s and the 90s of the 20th century are examined with special attention to the literary monthly magazine „Karogs” (Flag). The article deals with the development of literary process, cultural and historical methods are used to reach the aim of this paper – to find out what elements constitute the way to the establishment of Latgalian literature in Latvian cultural space and the importance of literary magazine „Karogs” in this process. There are several common trends of Latvian and Latgalian literary renewal in the 80s and 90s of the 20th century literary process: 1) return of repressed Latvian and Latgalian writers and their work to Latvian culture (such as Marta Skuja); 2) broad entry of exile literature into circulation for Latvian readership (Jānis Klīdzējs Marija Andžāne, etc.); 3) reprinted works, written during the 20s and 30s and unpublished in the Soviet time (Aleksandrs Adamāns); 4) in both traditions a number of exile periodicals begin to come out and some Latvian time periodicals are restored („Acta Latgalica”); 5) return of exile archives to Latvia („Latgaļu sāta”). Postmodern tendencies are observed not only in works of Aivars Ozoliņš, Jānis Vēvers or Gundega Repše, but also in creative work of O. Seiksts. Latgalian language and literature in Latvian cultural space has a special situation: there are important tasks to complete – to create a new alphabet, restore confidence in Latgalian literature in both traditions, the young and middle generation have to start writing in Latgalian tradition. Monthly magazine “Karogs” vividly reveals the new trends in Latgalian literature of the turn of the 80s and 90s, an important role is played by editor Andris Vējāns. It was „Karogs” which published one of the most influential texts of national awakening in Latgalian tradition – poem by O. Kravalis „Brōļ, pīmiņ!” (Brother, remember!). This publication is undeniably regarded as programmatic in Latvian and Latgalian literary traditions, declaring the return of Latgalian tradition and accepting the existence of both literatures. Among important publications in 1988 in the magazine about remembrance of Latgale cultural week, there was an article by Antons Stankēvičs „Atkusnī uzplaucis zieds” (A thaw flower) and Juris Pabērzs’ article „Skan joprojām” (It still sounds) where the role of the minister of culture Voldemārs Kalpiņš was emphasized. Poetry section published a poem of Antons Kūkojs „Atceroties Latgales kultūras nedēļu pirms 30 gadiem” (Remembering Latgale cultural week 30 years ago). The 1989 concept of magazine „Karogs” is obvious in publications of Latvian and Latgalian texts as a desire to respect the two literary traditions and present them to readers throughout Latvia. In 1990 and 2000 when the editor is Māra Zālīte, works of Roberts Mūks, A. Rancāne, J. Klīdzējs are published, some of them are in Latgalian, but mainly publications are in the Latvian literary language. There are two important articles in „Karogs”. Issue No.4, 1994 published Janīna Kursīte’s article „Latgaliešu literatūra – kas tu esi?” (Latgalian literature – who are you?), where the importance of dialects was emphasized and their ability to enrich the Latvian language, also this article pointed out the importance of periphery for the development of centre. Regarding recent Latgalian literature J. Kursīte’s assessment is blunt:”If one looks more carefully at what is published in the Latgalian literary language, one cannot overlook that artistically much of it is “rubbish”.” In 1997 was published Ilga Muižniece’s elegant review „Rūgtais pieradums – (ne dzīvot)” (Bitter habit – (not to live)) about O. Seiksts’ and V. Lukaševics’ novel „Valerjana dzeive i redzīni” (Valerjan’s life and opinions). The 90s mark two cultural traditions of Latgalian literature: 1) to some extent in the Latvian tradition Latgalian literature is viewed as an ethnographic tradition, which shows the possibilities of the Latvian language, diversity of traditions, complements Latvian literature with Latgalian vitality and charm, marks its catholic orientation, shows the natural beauty of Latgale; 2) Latgalian literature is considered an independent literature, writing in Latgalian is authors’ way of self-expression, it does not try to add anything to Latvian literary tradition, and it is based in Latgale and together with the Latvian literary tradition forms Latvian literature. Revival of Latgalian literature is one of the brightest features of culturally restored independent Latvia.
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Zotkina, L. V., B. S. Bobomulloev, A. K. Solodeynikov, I. V. Abolonkova, S. V. Shnayder und N. N. Sayfuloev. „New Data on the Rock Paintings of Eastern Pamir“. Vestnik NSU. Series: History and Philology 21, Nr. 3 (21.03.2022): 60–72. http://dx.doi.org/10.25205/1818-7919-2022-21-3-60-72.
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Purpose. Until recently, it was thought that colonization of the highlands of Pamir by humans had started in the early Holocene. But some recent investigations, especially dating of well-stratified archeological sites such as Istyk cave, demonstrate that humans appeared in the region in the late Pleistocene period. One of the important pieces of evidence of humankind's presence in an area all around the world is the rock art. Despite that there are no direct comparisons to rock art of East Pamir, V. A. Ranov considered rock art sites of Shakhty, Kurteke and Nayzatash belonging to the Stone Age.Results. We started redocumenting known rock art sites, using our experience and new technological approaches, which was beyond reach for V. A. Ranov and other investigators of 20th century. Also, some new rock art locations were found in the same area, and they gave us quite different graphical representations than those that were discovered in the middle of 20th century. One of the most urgent problems to solve for us is finding parallels to zoomorphic depictions and to the non-figurative ones in nearby regions and in other areas of rock art distribution. And still, we obviously know just a few samples of rock art varieties that existed in the East Pamir. Some of them were ruined due to natural factors, some of them could still be waiting to be discovered.Conclusion. So far, we are just in the beginning of the next stage of investigation of the East Pamir rock art and archeological remains as evidence of human presence in the region.
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Khloponina, Olga Olegovna. „Female imagery in mass culture at the beginning of the 20th century and its representation in literature, media, posters, and cinema“. Uchenyy Sovet (Academic Council), Nr. 12 (12.11.2021): 913–22. http://dx.doi.org/10.33920/nik-02-2112-03.
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The turn of the 19th – 20th centuries is considered to be the beginning of the formation of the phenomenon that will be called "mass culture". The general crisis, population migration, the collapse of the aristocracy and common attitudes and values of Orthodoxy led to a radical change in social institutions, social strata and customary classes. Industrialization led to a reduction in working hours, manual labor began to be replaced by machine labor; therefore, a clear boundary arose between the two spheres of life of the urban working mass, i.e. work and leisure. In a traditional society, free time was spent with family, professional community, or neighbors - one way or another, in a team. In the divided and variegated mass of the city, people found themselves on their own. The leisure of the atomized mass subjects demanded satisfaction of the need to rest, to escape from the stupefying, "alienated", monotonous labor. The response to this need is the entertainment industry of mass culture, whose values are in the form of a commodity. There is a huge, massive demand for products and services that meet the needs of leisure: books, magazines, records, films. The article shows that mass culture at the average level consolidates the popular stereotypes of female images in the mass consciousness in accordance with their functional purpose. Positive female images of mothers (traditional type) and sisters of mercy (high incarnation of the fatal type) dominate in social advertising appealing to universal values and spirituality. Commercial advertisements that appeal to seduction and recognition represent an idealized femme fatale. The art of cinematography addresses deeply rooted motives of fall and rise, physical desecration and moral cleansing (the dominant type of the fatal heroine). The material of the article can be useful in the preparation of courses on the history of Russian culture and history of art.
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Landsbergytė-Becher, Jūratė. „PHENOMENOLOGY OF THE FRONT LINE IN LITHUANIAN CONTEMPORARY CULTURAL LANDSCAPE“. CONTEMPORARY LITERARY STUDIES, Nr. 18 (13.12.2021): 66–73. http://dx.doi.org/10.32589/2411-3883.18.2021.246957.
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The image of the front line is deeply rooted in the contemporary Lithuanian discourse about cultureand politics. The strands of its cultural landscape connect art, media, politics and history. The concept of the line here performs like a literary metaphor deeply ingrained in everyday consciousness as a defensive front line due to the painful history of the nation’s experience. The confrontation with the constant threat of the Russian Empire and the catastrophes of occupation, especially in the 20th century, drew the Lithuanian prototype of the nation’s resistance and filled the 21st-century daily discourses with reflections on the emerged meaning of the Mannerheim Line. This actualised vision travelled to the spaces of artistic creation, music, cinematography, literature, creating feelings of infinity, spaces of transcendent landscapes, bridges of time and the dramaturgy of the Baltic archetypes of contiguity. These insights aim to unfold the Lithuanian discourse of contemporary culture with the special mark of the front line.
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Kachorovskaya, A. E. „On the Reception of the Myth of Prometheus in Austrian Literature of 19th-20th Centuries“. Nauchnyi dialog, Nr. 3 (30.03.2020): 221–35. http://dx.doi.org/10.24224/2227-1295-2020-3-221-235.
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This article focuses its attention on the motive of resistance characteristic of Austrian literature of the 19th - 20th centuries, which is considered from the point of view of the historical and literary relationship with the myth of Prometheus. The history of the issue is reviewed. A selective analysis of the versions of the Promethean myth in the Austrian historical and literary context of the 19th-20th centuries, which is part of the pan-European literary and philosophical heritage, is given. The stylistic and genre originality of Austrian interpretations of the myth of Prometheus is proved on the basis of a study of a number of works. The artistic reception of the image of Prometheus in the poem by Z. Lipiner "Liberated Prometheus", little studied in Russian literary criticism is considered in the article. Attention is paid to the version of the Promethean myth in the literature of Austrian Art Nouveau (on the example of F. Kafka's little prose). The issue of conflicting trends in the development of Austrian literature of the 20th century, affecting the interaction of the motive of resistance with the Promethean myth, is investigated by the example of M. Gruber's essay. The correlation of the Austrian versions of the motive of resistance with the myth of Prometheus is proved. The results of the study confirm the significance of the Promethean myth in the Austrian reception of the 19th-20th centuries, which has more pronounced features of drama and theatricality in relation to the European context.
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Martonova, Andronika. „A whole century in the vibrating net of arts“. Balkanistic Forum 29, Nr. 3 (01.11.2020): 324–28. http://dx.doi.org/10.37708/bf.swu.v29i3.19.
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The edition of Bratoeva-Darakchieva, Ingeborg; Genova, Irina; Levi, Claire; Spassova-Dikova, Joanna; Stoilova-Doncheva, Teodora; Tasheva, Stela; Traykova, Elka. Bulgarian 20th Century in Arts and Culture. Institute of Art Studies, 2019, ISBN: 978-954-8594-77-6, 632 рр. 333 ill. http://artstudies.bg/books/BG_XX_EN_2019_IIIzk.pdf in Bulgarian and in English in two separate books comes as a result of a collaborative interdisciplinary project supported by the National Science Fund, Bulgaria, which aims to present a general view on the history of arts in Bulgaria during the 20th century. There are specific but also general, parallel intellectual and artistic processes observed in the field of literature, theatre, music, cinema, visual arts and architecture. The accent is put on phenomena related to the modernization of Bulgarian culture and its place in the context of the flexible, dynamic cultural dimensions of modern Europe. The texts are structured in three parts: Under the Sign of Modern Europe (1878–1944), Metamorphoses of Modernity (1945–1989), Challenges in a Time of Transition (1989–2000). Splitting the period into topical parts creates convenience of sharpening the accents related to various “aspects of change” in the development of a particular art and its specific reflections from the point of view of personal and community identity analysed in synchronous or diachronous terms. The marking of such cross nodes (temporal, socio-cultural, institutional, genric, etc.) by following mosaic-chronological principle is conventional and provocative to the traditional idea concerning developmental trends in Bulgarian culture of the past century. The publication is richly illustrated and has an extensive bibliography. It is intended for a wide range of readers. It is evaluated as excellent edition by the National Science Fund, Bulgaria.
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Litavrina, Marina. „America on Russian Actors’ Touring Map: Komissarzhevskaya and the Others“. ISTORIYA 14, Nr. 4 (126) (2023): 0. http://dx.doi.org/10.18254/s207987840025994-2.
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The paper focuses upon the experience of Russian actors who toured in America in early 20th century. The author analyses their naïve beliefs, bold aspirations and great expectations, sizing up all these manifestations as Russian actors’ “American dream” or myth. The collision between Russian artistic messianism and American pragmatism, different views on theatre art, as well as cultural misunderstanding and language barrier — all in all performed great obstacles upon their way to American fame. In this sense, the case of Vera Komissarzhevskaya American tour (1908) is most representative. The main sources for this conclusion were borrowed from American and Russian archives (such as Library of Congress, Washington D. C., USA, Russian Archive for Literature and Art, Moscow), including correspondence, reports, travel notes by Russian immigrant theatre workers and numerous press publications of the time.
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Sytina, Yuliya N. „The Problems of Theoretical and Historical Poetics in Ivan Esaulov’s Works: Methodology, Concept and New Categories of Russian Philology“. Проблемы исторической поэтики 18, Nr. 2 (Mai 2020): 7–24. http://dx.doi.org/10.15393/j9.art.2020.7722.
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<p>The article analyzes the contribution of Russian literary critic, doctor of Philology, Professor Ivan Andreevich Esaulov to the study of theoretical and historical poetics revealing his central scientific ideas and principles of building a new concept of the history of Russian literature. The researcher introduced several concepts as philological categories that had never been used in Philology before. These are <em>sobornost </em>(conciliarism), <em>paskhalnost</em> (Easter character), <em>Zakon i Blagodat </em>(Law and Grace), Christocentrism. Esaulov proposed a new definition of the content of Russian literature thanks to these categories. The researcher proved the fruitfulness of his approach for understanding Russian literature. The material for analysis is rather extensive: from Metropolitan Hilarion's <em>Word about Law and Grace</em> to the works of writers of the late 20th century. Esaulov's most important methodological position is the need to distinguish between analysis, understanding and interpretation. These are different approaches to studying a work of art. The scholar also introduces and justifies the concept of “spectrum of adequacy”, which implies a plurality of interpretations of a literary work.</p>
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Goldsby, Jacqueline. „“Something is Said in the Silences”: Gwendolyn Brooks’s Years at Harper’s“. American Literary History 33, Nr. 2 (01.05.2021): 244–70. http://dx.doi.org/10.1093/alh/ajab007.
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Abstract This essay draws upon Gwendolyn Brooks’ 49-year correspondence (1944–93) with her editor Elizabeth Lawrence to trace the “publishing knowledges” that Brooks gleaned during her mid-20th-century career with the US firm Harpers & Brothers. First and foremost, their correspondence richly details Brooks’s growth as an experimental poet with a mainstream commercial firm. The aesthetic sociality of their editorial debates fostered also allowed them to explore personal and political intimacies; in this dimension, their correspondence (both the letters’ contents and epistolary form) sheds light on how Brooks and Lawrence navigated the shoals of race, gender, and liberalism in the notoriously patriarchal corporate culture of mid-20th-century US publishing. Finally, the arc of Brooks’s relationship with Lawrence at Harper’s charts is how US publishing transformed from its corporate to conglomerated forms. Taken together, these epistolary threads not only weave African American poetry into the literary history of an era-defining institutional realignment but also they demonstrate how Brooks’ and Lawrence’s cross-racial solidarity and commitment to an anti-corporate poetics comprise a continuum between Brooks’s career in mainstream US publishing and her later years in the Black independent press in the late 1960s. [P]ublishing at Harper’s was a shrewd, tactical choice [that] . . serve[d] Brooks’s evolving ideologies about art and politics.
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Chramiec, Mateusz. „Szable w kontekście badań nad bronią dawną – przyczynek do dziejów bronioznawstwa polskiego“. Opuscula Musealia 26 (2019): 59–81. http://dx.doi.org/10.4467/20843852.om.18.006.10999.
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Sabres in the context of research on historical weapons – a contribution to the history of Polish hoplology This article is an attempt to provide a comprehensive view on the history of hoplology in relation to the most popular type of weapon used in the old Polish-Lithuanian Commonwealth, the sabre. The research history addresses the issue of modern weapons, which is motivated by the emergence of various types of sabre at that time. Research on old weapons, inspired primarily by collectors, museologists and members of academia, traditionally uses a range of methods developed by history, art history, archaeology and art restoration. Such research can also enter the field of sociology and cultural studies, provided that we take into account the fact that weapons, sabres in particular, symbolized social standing. The variety of issues, which are generally confined to the above mentioned concepts, also translates into the historiographic sphere. Because of that, it may be surprising that Polish literature on historical weapons only dates back to the second half of the 19th century. However, collectors had shown interest in military items much earlier. The first part of the article presents the most important private collections of weapons from the end of the 18th century to the beginning of the 20th century, with particular focus on the almost entirely preserved collection of Izabela Czartoryska, who founded the first museum in Poland. This layout is the starting point for presenting academic interest in military items, divided into the pre- and post-war periods.
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Chramiec, Mateusz. „Szable w kontekście badań nad bronią dawną – przyczynek do dziejów bronioznawstwa polskiego“. Opuscula Musealia 26 (2019): 59–81. http://dx.doi.org/10.4467/20843852.om.18.006.10999.
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Sabres in the context of research on historical weapons – a contribution to the history of Polish hoplology This article is an attempt to provide a comprehensive view on the history of hoplology in relation to the most popular type of weapon used in the old Polish-Lithuanian Commonwealth, the sabre. The research history addresses the issue of modern weapons, which is motivated by the emergence of various types of sabre at that time. Research on old weapons, inspired primarily by collectors, museologists and members of academia, traditionally uses a range of methods developed by history, art history, archaeology and art restoration. Such research can also enter the field of sociology and cultural studies, provided that we take into account the fact that weapons, sabres in particular, symbolized social standing. The variety of issues, which are generally confined to the above mentioned concepts, also translates into the historiographic sphere. Because of that, it may be surprising that Polish literature on historical weapons only dates back to the second half of the 19th century. However, collectors had shown interest in military items much earlier. The first part of the article presents the most important private collections of weapons from the end of the 18th century to the beginning of the 20th century, with particular focus on the almost entirely preserved collection of Izabela Czartoryska, who founded the first museum in Poland. This layout is the starting point for presenting academic interest in military items, divided into the pre- and post-war periods.
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Martynov, D. E., und Yu A. Martynova. „A New Monograph by Konstantin Frumkin [Review: Frumkin K.G. Admiring the Academic Class: Reflection of the Social History of Soviet Science in Literature, Art, and Public Rhetoric. Moscow, St. Petersburg, Nestor-Istoriya, 2022. (In Russian)]“. Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 164, Nr. 5 (2022): 141–51. http://dx.doi.org/10.26907/2541-7738.2022.5.141-151.
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This article reviews a new monograph by K.G. Frumkin, an eminent culturologist and literary critic. He argues that the cult of science, as an institutionalized professional activity inseparable from the public interest in the work of scientists, is a specific feature of the 20th century. The ideological confrontation of the 1920s and 1930s touched little upon literature. In the fiction of that period, scientists were portrayed as inventors of fantastic military vehicles. After the 1950s, the relationship between scientific institutions and the state took a back seat in literature, while the relationship between scientists came to the fore. The scientific environment became self-sufficient. For the first time scientists were almost exclusively among colleagues, and the social circle they had outside their subculture shrank. The collective self-awareness of the scientific community was also taking shape. The author describes it as a “class mythology” characterized by undisguised elitism and “talent-centric racism.” The collapse of the USSR did not destroy Russian science, but the public enthusiasm for it practically dried up. A few literary works of that time referred to the past, both by rethinking and mythologizing it. The “admiration of the academic class” is thus a historically rooted phenomenon of the 20th century.
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Giraldo, Efrén. „Apuntes para una estética del ensayo colombiano del siglo XX“. Estudios de Literatura Colombiana, Nr. 25 (09.08.2011): 107–22. http://dx.doi.org/10.17533/udea.elc.9799.
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Resumen: este artículo presenta los hallazgos de una investigación sobre los valores literarios y estéticos del ensayo colombiano del siglo xx. Se da a conocer el estado del arte y se cuestionan algunos equívocos surgidos en el contexto de las discusiones más recientes acerca del estatuto artístico y literario del ensayo hispanoamericano. Descriptores: ensayo; ensayo colombiano del siglo xx; ensayo y estética;autonomía ensayística. Abstract: This article shows findings related to a research on the literary and aesthetical values of 20th century Colombian essay. It intends to socialize the state of the art and to question some misunderstandings coming from the context of the most recent discussions on Hispano-American essay´s artistic and literary statute. Key words: Literary essay; 20th century Colombian essay; essay and aesthetics; essayistic autonomy.
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Brei, Nataliia. „The Lost Monument of Ivan Yizhakevych’s Art. Murals of Metropolitan’s Chamber in Belgorod“. ARTISTIC CULTURE. TOPICAL ISSUES, Nr. 19(2) (29.11.2023): 122–28. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294640.
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The paper raises the issue of studying the history of the prominent monumental painting of the early 20th century— the mural at the metropolitan’s chambers in Belgorod by the famous Ukrainian artist Ivan Sidorovich Yizhakevich. All available written, visual and digital sources were reviewed ir order to study the history of the monument. An art analysis of the illustrative material was performed. The paper aimed to find and systematize all available materials on the issue, and in addition, after analyzing all the available material, to make a probable reconstruction of the monument’s appearance, components, and most importantly, to highlight the role of Ivan Yizhakevich in creating this mural. During the work, a considerable source base, historical information and a significant body of literature were reviews. The conclusions hypothesise the composition of the ensemble of murals at the Metropolitan’s Chambers, outline the history of its creation, the role and guiding principles of Ivan Yizhakevych during his work on this wall painting. By searching and systematizing the available information about the ensemble of paintings of the Metropolitan’s Chambers in Belgorod, the value and uniqueness of Ivan Yizhakevych’s work as a prominent master of monumental painting has been proven.
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Stepanov, Boris. „“Coming Soon?”: Cinematic Sociology and the Cultural Turn“. Sotsiologicheskoe Obozrenie / Russian Sociological Review 19, Nr. 4 (2020): 152–77. http://dx.doi.org/10.17323/1728-192x-2020-4-152-177.
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Throughout the 20th century, cinema has played, and, to some extent, continues to play a key role in shaping the social imagination and anthropology of modern human. Nevertheless, as a review of English scholarly literature shows, cinema, unlike art and music, remains a marginal subject of analysis for sociologists. The article attempts to consider the state of sociological reflection on cinema in the context of the cultural turn in sociology in both the international and national contexts. By reconstructing the history of the interaction between sociology, film studies, and cultural studies, the author not only proves the scar-city of interest among sociologists in the analysis of cinema, but also discusses the ways by which socio-logical perspectives were involved in film research at the turn of the 20th–21st centuries, and the potential of the latter for the study of social imagination. A survey of communities of Soviet sci-fi cinema fans demonstrates one possible way of developing of the sociologically oriented program of cinema studies.