Journal articles on the topic 'Blake Art Prize History'
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1
Riley, Glenda. "Prize Reflections: 1992 Western History Association Prize Winners and the Art of Western History." Western Historical Quarterly 24, no. 3 (August 1993): 377–81. http://dx.doi.org/10.1093/whq/24.3.377.
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Hardy, Stephen, and Elliott J. Gorn. "The Manly Art: Bare-Knuckle Prize Fighting in America." Journal of American History 74, no. 2 (September 1987): 525. http://dx.doi.org/10.2307/1900086.
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Miles, Ellen G., and Morris Eaves. "The Counter-Arts Conspiracy: Art and Industry in the Age of Blake." Technology and Culture 35, no. 3 (July 1994): 636. http://dx.doi.org/10.2307/3106288.
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Anderson, Patricia, and Morris Eaves. "The Counter-Arts Conspiracy: Art and Industry in the Age of Blake." American Historical Review 99, no. 3 (June 1994): 898. http://dx.doi.org/10.2307/2167822.
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Brodsky, Joseph. "Nobel Prize Speech." Index on Censorship 17, no. 2 (February 1988): 12–15. http://dx.doi.org/10.1080/03064228808534364.
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‘Regardless of whose image we are created in, we already number five billion, and there is no other future for a human being save that outlined by art. Otherwise, what lies ahead is the past — the political one, first of all, with all its mass police entertainments.’
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Rosenzweig, Roy, and Elliott J. Gorn. "The Manly Art: Bare-Knuckle Prize Fighting in America." American Historical Review 93, no. 5 (December 1988): 1398. http://dx.doi.org/10.2307/1873695.
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Crawford, Scott A. G. M. "The Manly Art: Bare-Knuckle Prize Fighting in America." Journal of Sport History 38, no. 2 (July 1, 2011): 324–25. http://dx.doi.org/10.5406/jsporthistory.38.2.324.
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Brylowe, Thora. "Of Gothic Architects and Grecian Rods: William Blake, Antiquarianism and the History of Art." Romanticism 18, no. 1 (April 2012): 89–104. http://dx.doi.org/10.3366/rom.2012.0066.
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Ducheyne, Steffen. "Geneva, natural history and the art of observing." Archives of Natural History 48, no. 1 (April 2021): 77–88. http://dx.doi.org/10.3366/anh.2021.0688.
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According to the naturalist Charles Bonnet (1720–1793), an “art of observing” was sorely needed to stimulate further progress in natural history. Although he never published on the subject, Bonnet proposed a prize competition on the “art of observing” to Hollandsche Maatschappij der Wetenschappen (the Dutch Society of Sciences) in Haarlem of which he was a member. Jean Senebier, a pastor and librarian who later became a skilled scientific observer in his own right, took part in this competition (1768) with an essay on the art of observing that influenced, embodied and codified the advanced scientific observational practices of the Genevan naturalists in the eighteenth century.
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Moseley, Merritt. "How the Booker Prize Won the Prize." American, British and Canadian Studies 33, no. 1 (December 1, 2019): 206–21. http://dx.doi.org/10.2478/abcsj-2019-0023.
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AbstractThis article shows that the Booker Prize for fiction, which is neither the oldest nor the richest award given for novels in English, is nevertheless widely conceded to be the pre-eminent recognition. Sometimes it is called the “most significant”; sometimes the “most famous”; ultimately these two qualities are inseparable. I canvass some of the explanations for the Booker’s position as top prize and argue that the most important reasons are Publicity, Flexibility, and Product Placement. The Booker has managed its public image skillfully; among the devices that assure its continued celebrity is the acceptance, almost the courting, of scandal. Flexibility is partly a function of the practice of naming five new judges each year, but the Booker has also been responsive to challenges, including the recognition that it paid too little attention to female authors. The decision to admit American books into the competition was a sign of flexibility, as it was a guarantee of scandal. And the Booker has followed a path of “product placement” that positions it accurately between demands for high art and for “readability,” as examination of several periods in its history demonstrate.
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Warren, Kate. "A Brief History of The Australian Women’s Weekly Art Prize, 1955–1959." Australian and New Zealand Journal of Art 18, no. 2 (July 3, 2018): 242–58. http://dx.doi.org/10.1080/14434318.2018.1516497.
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Rogers, Clifford J. "Edward III and the Dialectics of Strategy, 1327–1360 (The Alexander Prize Essay)." Transactions of the Royal Historical Society 4 (December 1994): 83–102. http://dx.doi.org/10.2307/3679216.
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He that will fraunce wynne, must with Scotland first beginne.WHEN I tell people that I'm studying English strategy in the Hundred Years War, the response is very often something to the effect of ‘did they really have “strategy” in the middle ages?’ This idea, that strategy was absent from the medieval period, remains deeply embedded in the historiography of the subject. Sir Charles Oman, probably still the best-known historian of medieval warfare, wrote of the middle ages that ‘the minor operations of war were badly understood, [and] strategy— the higher branch of the military art—was absolutely nonexistent. Professor Ferdinand Lot said much the same. Other scholars have argued that the medieval commander ‘had not the slightest notion of strategy’, or that ‘never was the art of war so imperfect or so primitive.’ But the truth is that most medieval commanders did not show ‘a total scorn for die intellectual side of war’ nor ignore ‘the most elementary principles of strategy’; nor is it fair to say that ‘“generalship” and “planning” are concepts one can doubtfully apply to medieval warfare.’
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Spieker, Sven. "Price or Prize: The Artist as Vertreter." ARTMargins 4, no. 2 (June 2015): 24–47. http://dx.doi.org/10.1162/artm_a_00117.
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This article discusses different modes of delegation in Martin Kippenberger's work. Drawing both on the artist's work as a painter in post-II WW Berlin and on his performance of his own life as part of his artistic work, the article contends that Kippenberger keeps in the balance a modernist logic of art as deskilling and delegation that endorses the artist as an entrepreneur; and a postmodern position that emphasizes more performative elements in subjectivity.
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Ross, MacIntosh, and Kevin B. Wamsley. "“The New Woman and the Manly Art”: Women and Boxing in Nineteenth-Century Canada." Sport History Review 51, no. 2 (November 1, 2020): 149–63. http://dx.doi.org/10.1123/shr.2019-0005.
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On July 27, 1859, “Canada” Kate Clark met two Americans, Nellie Stem and Mary Dwyer, for a pair of prize fights in Fort Erie, Canada West. Beginning their adventure in Buffalo, New York, they rowed their way across the Niagara River to the fighting grounds in the British colony. Like pugilists before them, they stripped to the waist to limit potential grappling in battle. Both the journey and pre-fight fight preparations were tried and true components of mid-nineteenth century prize fighting. Although the press, and later historians, overwhelmingly associated such performances with male combatants, women were indeed active in Canadian pugilistic circles, settling scores, testing their mettle, and displaying their fistic abilities both pre- and post-Confederation. In this article, we begin to untangle the various threads of female pugilism, situating these athletes and performers within the broader literature on both boxing and women's sport in Canada. By examining media reports of female boxers—both in sparring and prize fighting—we hope to provide a historiographic foundation for further discussions of early female pugilism, highlighting the various ways these women upheld and challenged the notion of the “new woman” in Canada.
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Korte, Anne-Marie. "Between art and ritual." Approaching Religion 12, no. 3 (November 7, 2022): 94–114. http://dx.doi.org/10.30664/ar.115442.
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This article analyses the short performances of Drag Sethlas at the yearly Gran Canaria Drag Queen Contest in Spain (2017–20) from the perspective of religious studies and gender studies, following on from an earlier article in which this case was explored in light of the severe blasphemy accusations (by local and national bishops and lay organisations) against the 2017 show. These short performances consist of remarkable representations of Roman Catholic texts, saints, symbols and rituals acted out as prize-winning drag-queen shows that were aired on national television. At the same time, these acts are situated, by reference to famous earlier controversial acts by the pop artists Madonna, Lady Gaga and Ariana Grande, in a genealogy of provocations and blasphemy accusations that are currently made in North American and Western European countries. In exploring the forms of ritualisation (cf. Bell 1989) in the provocation that this type of popular artistic performance with strong religious connotations evokes, I show the presence of a double theatricality in Sethlas’s first and most controversial performance: on the one hand a ‘holy drama’ centred around a religious pattern of penance, repentance and redemption, and on the other hand a specific drag theatricality, with its parodies, mockery and daring erotic scenes. It is precisely the connection between both forms of theatricality, especially the representation of the Virgin Mary and Jesus, who play a large and special role in both forms of theatricality, that contributes most to the provocativeness of this scene.
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Karaçoban, Atanas, and Patricia Denisa Dita. "Painting, Poetry and the Interference of the Genres in English Art: The Case of William Blake." Border Crossing 10, no. 1 (April 7, 2020): 29–42. http://dx.doi.org/10.33182/bc.v10i1.931.
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Throughout the history of Western culture and art, there are numerous examples of those who, in their creativity, went beyond the limits of a particular art, embarking instead on attempts to combine in one artistic discourse the practices of various arts, such as music and poetic text, drama and dance, literature and sculpture, literature and painting, and so on. One of these artists is William Blake, acclaimed as a major poet and painter of romanticism in English and world art. He is accredited as the founder of a whole new and original method of producing artistic works, called “illuminated printing”, which is a remarkable combination of poetic text, decoration, and picture. Apart from revealing Blake’s appurtenance to romantic tradition, the present study aims to present the specificity of his technique and, primary, to disclose the ways in which it combines the artistic practice of poetry with that of painting as to render and strengthen the meaning by mutually sustaining and illuminating each other.
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Bertz, Inka. "Dreaming of Raphael: The Politics and Aesthetics of the Michael-Beer-Stiftung for Jewish Artists." Ars Judaica: The Bar Ilan Journal of Jewish Art 16, no. 1 (January 1, 2020): 69–94. http://dx.doi.org/10.3828/aj.2020.16.6.
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In his will, the poet and playwright Michael Beer (1800-1833) provided an endowment for a prize to support Jewish painters and sculptors to travel to Italy for one year. The grant was placed under the auspices of the Berlin Academy of Art and awarded from 1836 to 1921. This essay focusses on the establishment of the prize, exploring the mindset and motivations of the donor, situated in their historical, social, and ideological contexts. It opens insights into early nineteenth-century Jewish-Christian networks, as well as into contemporary views on national art and the aesthetics of the classical tradition, private patronage and public institutions, Jewish emancipation, antisemitism, and civil rights.
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Browne, Ray B. "The Arts of Democracy: Art, Public Culture, and the State by Casey Nelson Blake, Ed." Journal of American Culture 31, no. 2 (June 2008): 254–55. http://dx.doi.org/10.1111/j.1542-734x.2008.00674_50.x.
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McNeill, John Robert. "Matthew Gandy. The Fabric of Space: Water, Modernity, and the Urban Imagination." Anuario Colombiano de Historia Social y de la Cultura 45, no. 2 (July 1, 2018): 282–85. http://dx.doi.org/10.15446/achsc.v45n2.71039.
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Matthew Gandy is a geographer at University College London whose work focuses on cities, how they work, and how their workings are represented in art and literature. His first book, entitled Concrete and Clay (2002), about New York, won a prize. Since its appearance, he has published dozens of articles and several edited books, and his output has earned him election to the British Academy. This latest book concerns six big cities at various points in their recent history: Paris, Berlin, Lagos, Mumbai, Los Angeles, and London.
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Brauner, David. "Interview with Howard Jacobson." European Judaism 55, no. 2 (September 1, 2022): 95–113. http://dx.doi.org/10.3167/ej.2022.550208.
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This is a detailed, wide-ranging interview with the Booker-Prize-winning novelist, broadcaster and public intellectual Howard Jacobson, conducted by the author of the only monograph on his work. On the eve of the publication of his memoir, Mother’s Boy, Jacobson discusses that work, his relationship with his parents, his attitude towards other novelists, and his views on, among other things, Jewishness, antisemitism, poetry, art, television and Trump.
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Ashurov Ma’rufjon Abdumutalibovich. "The study of the life and creativity of yunus rajabi and the rich heritage he left to the uzbek nation." International Journal on Integrated Education 3, no. 12 (December 3, 2020): 40–43. http://dx.doi.org/10.31149/ijie.v3i12.909.
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This article looks at the life of Yunus Rajabi, People's Artist of Uzbekistan, laureate of the Republican State Prize, musician, hafiz and composer, multifaceted artist, academician. His life, his entry into the art of music, the lessons he learned from his family, the deep and bright traces in the history of twentieth-century Uzbek music, his contribution to the development of our modern music culture, as well as O He is one of the founders of the Union of Composers of Uzbekistan. given.
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Sputnitskaya, Nina Yu. "The Key Art Strategies of “Soyuzmultfilm” in 1944-1946 Years." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 19–27. http://dx.doi.org/10.17816/vgik8419-27.
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A comment to the history of Soyuzmultfilm. The short period in the history of the domestic animation from the late wartime up to the period known as fight against a disneevshchina and a malokartinye has not been sufficiently analyzed yet and has not gained fundamental historical and theoretical assessment. Basing upon archival documents, the author fills up this gap. The author dwells on the key events and important art strategies and administrative actions for resuscitation of the main center of the important branch of cinema in the post-war years. The author traces history of restoration of Soyuzmultfilm studio since the summer of 1944 when the Committee on of the cinema affairs of SNK USSR appointed the enthusiast of the Soviet doll animation Alexander Ptushko as the artistic director and the director of Soyuzmultfilm. Basing upon archival stuff, the author describes the process of establishing regular release of the movies, formations of crews of highly skilled masters as well as features of development of new technology of color cinema and a thematic plan. Just during this period the innovative crew of animators sprang into being, such films were created as films Konek-gorbunok by I. Vano, Spring melodies by D. Babichenko and A joy song by M. Pashchenko - the first picture of the studio, winning the international prize (8th Venice MFF, 1947). The author pinpoints the key art strategies and advances historical and theoretical assessment of the important period in the history of Russian animation.
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Ferrer Ventosa, Roger. "A Sacred Marriage. Hierogamy in the Most Hermetic Art, from Alchemy to The Sacrifice, by Andrei Tarkovsky." Eikon / Imago 11 (March 1, 2022): 233–43. http://dx.doi.org/10.5209/eiko.78018.
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Many cosmogonies see the creation as a hierogamy, a non-dualist cosmogonic mytheme. It can also be found in alchemical engraving books, used in reference to one of the stages of the process, represented in iconography. In that phase, a woman and a man have sexual intercourse, like in the Rosarium Philosophorum. This iconographic type portrays a non-dual worldview, according to which the world needs to link both primary poles. This is achieved with resources inherent to visual art. Alchemy stands out as one of the few currents with a strong non-dual factor in Western schools. Subsequent artists were influenced by this iconography and the ideas represented in it, such as William Blake and surrealists like Leonora Carrington. It is also relevant as one of the most predominant motifs in the style of Andrei Tarkovsky, omnipresent in his work. It is in his last film, The Sacrifice, in which the alchemical universe is most present. In this film, the world is threatened by an apocalyptic Third World War, but a sexual ritual perhaps might reverse the crisis.
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Ellis, Joyce, John Walton, and J. Whyman. "Steven Blake, Pittville 1824–1860. A Scene of Gorgeous Magnificence. Cheltenham: Cheltenham Art Gallery and Museums, 1988. 76pp. Illust. £3.50." Urban History 17 (May 1990): 253–54. http://dx.doi.org/10.1017/s0963926800014760.
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Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 69. http://dx.doi.org/10.25038/am.v0i19.306.
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Books and artworks have a long common history. Written texts, as well as the joy of reading and the act of writing them, appeared in pieces of art from early Antiquity onwards, well before the current form of the book itself was invented. Apart from indicating readers and writers, the book had also become a basic symbol of culture, education, or the attribute of saints. On the other hand, there are many artists who create special books, i.e. special one-copy and one-edition volumes, not only containing the artist’s drawings or paintings but the whole assemblage of the book (and often even the paper itself) is the creator’s own work. From the Early Modern Age and especially from Romanticism onwards, the sketchbook of the artist grew rapidly in its importance. In this paper, however, I would like to survey another aspect: when the book, and especially its material property or physicality, serves as the basis of the creation of a novel artwork. In other words, I focus on pieces of art where the book is not simply a depicted motif or an attribute and it is not even a newly-created book-art object. Hence my current examination aims to analyze the phenomenon of the book, as how its materiality and referential ability may inspire the artist to further develop considerations on cultural, social and political issues. Works by Sophia Pompéry, Ákos Czigány, the art collective Slavs and Tatars, Jorge Méndez Blake and Carla Filipe are analyzed.Article received: April 15, 2019; Article accepted: June 23, 2019; Published online: September 15, 2019; Review ArticleHow to cite this article: Somhegyi, Zoltán. "Empty Pages and Full Stops: On the Aesthetic Relation between Books and Art." AM Journal of Art and Media Studies 19 (2019): 69-75. doi: 10.25038/am.v0i19.306
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Gabelman, Daniel. "In Search of Greybeards at Play; or, Why Did Chesterton Conceal His Jesting Sages?" Journal of Inklings Studies 12, no. 1 (April 2022): 19–42. http://dx.doi.org/10.3366/ink.2022.0133.
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Following Chesterton’s strange omission of his first book in his Autobiography, scholarship has remained virtually silent on Greybeards at Play (1900). When critics have commented, they have generally dismissed the book as silly and disconnected from Chesterton’s subsequent works. This article seeks to invert this perspective, arguing that, far from peripheral or irrelevant, Greybeards is in fact central and seminal in Chesterton’s oeuvre. This is accomplished by exploring the multivalent trope of the greybeard at play and its literary and theological ramifications: how it symbolically unites innocence and experience into a higher childlike state. These greybeards are traced through close readings of the cover art, title, and two framing poems and linked to antecedents in the Bible, Shakespeare, Blake, Dickens, and George MacDonald. At the same time, frequent references to Chesterton’s more popular works gesture to how this symbolic perspective was not an aberration of this one text but emblematic of Chesterton’s mode more generally. The search for greybeards at play thus provides a vital re-evaluation of Chesterton’s first book that suggests it should not only be redeemed from the critical dust-heap but even elevated to a place of primacy in Chesterton’s corpus.
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Gołubiew, Zofia. "THE POET OF ART – JANUSZ WAŁEK." Muzealnictwo 59 (October 5, 2018): 215–18. http://dx.doi.org/10.5604/01.3001.0012.6141.
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On the 8th of July 2018 died Janusz Wałek, art historian, museologist, pedagogue, born in 1941 in Bobowa. He graduated from the Jagiellonian University, the history of art faculty. In 1968, he started working in the Czartoryskis’ Museum – Branch of the National Museum in Krakow, where some time after he became a head of the European Painting Department for many years. He was a lecturer at the Fine Arts Academy, the National Academy of Theatre Arts and the Jagiellonian University in Krakow. He wrote two books and numerous articles about art. He was also a poet, the winner of the Main Prize in the 1997 edition of the General Polish Poetry Competition. He was a student of Marek Rostworowski, they worked together on a number of publicly acclaimed exhibitions: “Romanticism and Romanticity in Polish Art of the 19th and 20th centuries”, “The Poles’ Own Portrait”, “Jews – Polish”. Many exhibitions and artistic shows were prepared by him alone, inter alia “The Vast Theatre of Stanisław Wyspiański”, presentations of artworks by great artists: Goya, Rafael, Titian, El Greco. He also created a few scenarios of permanent exhibitions from the Czartoryskis’ Collection – in Krakow and in Niepołomice – being a great expert on this collection. “Europeum” – European Culture Centre was organised according to the programme written by him. He specialised mostly, although not exclusively, in art and culture of the Renaissance. Janusz Wałek is presented herein as a museologist who was fully devoted to art, characterised by: creativity, broad perception of art and culture, unconventional approach to museum undertakings, unusual sensitivity and imagination. What the author of the article found worth emphasising is that J. Wałek talked and wrote about art not only as a scholar, but first of all as a poet, with beauty and zest of the language he used.
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Gearon, Liam. "“No Direction Home”: The Life and Literature of Bob Dylan–From “Desolation Row” to the Nobel Prize." Text Matters, no. 10 (November 24, 2020): 166–81. http://dx.doi.org/10.18778/2083-2931.10.10.
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Using the Nobel Prize as a prism through which to view the life and literature of a difficult-to-define artist, this article argues that Dylan’s output is one in which life and literature become, and have always been, indistinguishable. It is the life which has made the literature, through years lived in a particular niche of 1960s counter-cultural history; the lyrics gave voice to a man who was never at ease in the formalities of interview. For a supposed spokesman of a generation Dylan spoke very little except through his songs. So too in the more difficult-to-define later decades, little of his life was spoken of except through song, and some samplings of autobiography. Detailing the historically distinctive features of the Nobel Prize, the article shows how Bob Dylan has, through life and literature, broken down the boundaries between the literary and the popular. The article’s title is drawn, of course, from a famous line in Bob Dylan’s era-defining “Like a Rolling Stone,” one which Martin Scorsese used to title a full-length documentary on the life of Bob Dylan. Dylan here occupies the borderlands where art imitates life, and life imitates art. I argue, contrary to critical consensus, that there is a direction home. In Dylan’s lifetime of existentially staring death (political death, the death of romance) in the face, there is some glimpse of home. It is that glimpse which gives the poet’s lyrical output its endurance as literature.
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Kołodziej, Piotr. "Brueghel’s Two Monkeys – a Tiny Painting by Bruegel, a Very Short Poem by Szymborska and the Biggest Problems of Mankind." International Journal on Language, Literature and Culture in Education 3, no. 1 (June 1, 2016): 83–99. http://dx.doi.org/10.1515/llce-2016-0005.
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Abstract There is a great power in works of art. Art provides knowledge about human experience, which is not available in another way. Art gives answers to the most important and eternal questions about humanity, even though these answers are never final. Sometimes it happens that works of some artists encourage or provoke a reaction of other artists. Thanks to this in history of culture - across borders of time and space - there lasts a continuous dialogue, a continuous reflection on the essence of human existence.This text shows a fragment of such a dialogue, in which the interlocutors are a sixteenth-century painter Pieter Bruegel the Elder and a twentieth-century poet and Nobel Prize winner Wislawa Szymborska. Szymborska, proposing a masterful interpretation of a tiny painting by Bruegel, poses dramatic questions about human freedom, formulates a poetic response and forces a recipient to reflect on the most important topics.This text also brings up a question of a word - picture relationship, a problem of translation of visual signs to verbal signs, as well as a problem of translation of poetry from one language to another.
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Ignjatovic, Mile. "Historical review of the thyroid gland surgery." Acta chirurgica Iugoslavica 50, no. 3 (2003): 9–36. http://dx.doi.org/10.2298/aci0303009i.
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Thyroid gland surgery passed through history from the suggestions for prohibition, during middle of XIX century due to unacceptable mortality even for mediaeval conditions, to highest level of surgical art later, as W. Halsted sad. First thyreoidectomy was done by Albucasis (El Zahrawi) in 925 A.D, and after him by Roger from Salerno. While Pierre-Joseph Desault in 1791 has done first operation on thyroid gland that can fulfill today?s criteria, Theodor Billroth gave scientific grounds of thyroid surgery. Genius attitude and surgical talent of Theodor Kocher raised thyroid surgery on scientific level, brought surgical skills on the top of surgical art pyramid, and brought him personally to the Nobel Prize in 1909. Very important contribution to development of thyroid surgery gave its giants: Johann von Mikulicz, William Halsted, Charles Mayo, George W. Crile and Frank Lahey. Thomas P. Dunhill, F. A. Coller, A. M. Boyden, and many others did important contribution, too. Development of thyroid surgery was constant to nowadays, with tendention for multidisciplinary approach in specialized centers. Thyroid surgery in Serbia followed this world trends, in spite of great problems in this area during history.
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Thao, Le Nguyen Nguyen. "The lost men in Missing Person." Science & Technology Development Journal - Social Sciences & Humanities 4, no. 3 (September 20, 2020): First. http://dx.doi.org/10.32508/stdjssh.v4i3.573.
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For the Nobel Literature Prize being rewarded to him in 2014, Patrick Modiano is among the most popular French novelists allover the world. In Vietnam, many books of his have been translated and published, especially since the year of his Nobel Prize, leading to many reviews and comments in newspapers and social networks. In addition, his novels have been interesting subjects to many studies in universities. However, we tend to pay more attention to his ``art of memory'' and his obvious obsession to history, memories, identities, the feeling of loss, etc. without paying attention to the loss itself, which makes it hard to deeply understand both his works and his world. In this article, we try to examine the loss in one of his most well-known novels, Missing Person (original Rue des Boutiques Obscures in French, which brought him the Goncourt Prize in 1978), to get a thorough understanding of this theme in his writings. By examining the characters and their being lost in Missing Person in terms of memory, language and nationality as well as seeing their state in the relations to cultural and historic events then (in the Occupation and about ten years later in France), we try not only to completely depict their loss but also to get things clearly explained. From the lost men in Missing Person, we also expect to point out humans' close connections to their community, their mother tongue language and their nation, showing how vulnerable they are through historic events. From this point of view, Modiano's missing person is a victim of history – just like many refugees today. Therefore, his writings not only are something from the past, not only belong to the past, but also are attached to our present and towards the future.
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Hass, K. "The Arts of Democracy: Art, Public Culture, and the State. Ed. by Casey Nelson Blake. (Philadelphia: University of Pennsylvania Press, 2007. xvi, 361 pp. $49.95, ISBN 978-0-8122-4029-0.)." Journal of American History 95, no. 4 (March 1, 2009): 1225–26. http://dx.doi.org/10.2307/27694686.
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Stănescu, Simona Maria. "Interview with Adrian Majuru, winner of Romanian Academy’s 2019 prize in sociology „Henry H. Stahl”." Sociologie Romaneasca 18, no. 2 (November 11, 2020): 215–20. http://dx.doi.org/10.33788/sr.18.2.19.
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Back in 1879 two Romanian Academy’s prizes were established for science and literature: „Gheorghe Lazăr” and „Ion Heliade Rădulescu” (www.acad.ro). The prizes of the Romanian Academy „are awarded to Romanian scientists and artists living here or abroad for their contribution (…) to the development of Romanian culture and science” (www.acad.ro). Since 1996, the Romanian Academy is awarding yearly excellence in domains corresponding to its scientific sections: I Philology and literature, II Historical sciences and archeology, III Mathematics, IV Physics, V Chemistry, VI Biology, VII Geonomic, VIII Technical section, IX Agricultural and Forestry section, X Medicine section, XI Economic, juridical and sociology section, XII Philosophy, theology, psychology and pedagogy section, XIII Art, architecture and audiovisual section and XIV Science and technology of information section. Under the section XI Economic, juridical and sociological sciences, two awards are available for Sociology area: „Dimitrie Gusti” and „Henri H. Stahl”. This interview is conducted with the winner of „Henri H. Stahl” awarded in 2020. More details on history of these awards as well as guidelines and 1998-2017 lists are available on https://acad.ro/premiileAR/pag_premii.htm.
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Mitchell, W. J. T. "The Commitment to Form; or, Still Crazy after All These Years." Publications of the Modern Language Association of America 118, no. 2 (March 2003): 321–25. http://dx.doi.org/10.1632/003081203x67703.
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Having counted the adjectives, and weighed the lines, and measured the rhythms, a Formalist either stops silent with the expression of a man who does not know what to do with himself, or throws out an unexpected generalization which contains five per cent of Formalism and ninety-five per cent of the most uncritical intuition.—Trotsky, Literature and Revolution (ch. 5)Bring out number weight & measure in a year of dearth.—Blake, The Marriage of Heaven and Hell (35)Everyone knows that the concept of form has outlived its usefulness in discussions of literature, the arts, and media. The word does not appear in the recent handbooks of critical terms in art history and literary studies issued by the University of Chicago Press (Nelson and Shiff; Lentricchia and McLaughlin), and it appears in Raymond Williams's classic glossary, Keywords, only in its derivative (and mainly pejorative) form as an “-ism,” as in the phrase “mere formalism.” Formalists, as we know, are harmless drudges who spend their days counting syllables, measuring line lengths, and weighing emphases (Trotsky), or they are decadent aesthetes who waste their time celebrating beauty and other ineffable, indefinable qualities of works of art. If form has any afterlife in the study of literature, its role has been completely overtaken by the concept of structure, which rightly emphasizes the artificial, constructed character of cultural forms and defuses the idealist and organicist overtones that surround the concept of form.
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Kondrashova, Anastasia S. "Aesthetics of Expediency, Identity and Chaos in Design." ICONI, no. 2 (2021): 48–58. http://dx.doi.org/10.33779/2658-4824.2021.2.048-058.
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The article touches on various areas through which the concept of design, its theoretical and practical components can be examined, what is the designer’s thinking from the point of view of philosophy and aesthetics by the example of the real creative life of famous artistic and aesthetic fi gures. Identity, chaos, expediency — those are the defi ning terms, whose subtleties are based on the scholarly works of Vladimir F. Sidorenko (Professor of the Moscow Textile Academy, member of the Artists’ Union, member of the Designers’ Union, Doctor of Art History, Laureate of the State Prize in Literature and Art). The article discloses the features of the aesthetics of expediency, the application of the abbreviation of this term. The time period from the 1920 to the 1880 of the last century suffi ces for explaining the foundations of the aesthetics of expediency, since it is during this time period that we can observe a surge of the most striking movements in art which infl uenced the design style. The world of design and the people of the design culture in it, imitation of nature and retreating from it — all of this is, undoubtedly, relevant for our time. In the decade of the 2020s, when many trends in art are arriving at a dead end, and sometimes even to their logical conclusion, it is important to go one century back, to the sources, to learn from the experience of our predecessors in the artistic fi eld. It is useful for contemporary artists to study what the contemporaries of the past years arrived at earlier in order to achieve their artistic success and remain in the history of design for all times.
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Kwadwo Adinkrah-Appiah, Atianashie Miracle A, Chukwuma Chinaza Adaobi, and Augustine Owusu-Addo. "Arthur pendragon Camelot evolution in merlin: A virtual fan art in the computation age." World Journal of Advanced Research and Reviews 11, no. 2 (August 30, 2021): 040–47. http://dx.doi.org/10.30574/wjarr.2021.11.2.0340.
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This paper inspects Arthur Pendragon Camelot evolution in Merlin, the research review on the Citadel of Camelot, Camelot Administration, Knights of Camelot, Early History of Camelot, The Intensification of The Once and Future King, Map of Camelot, and the Sovereignty of Arthur. Camelot Castle is the castle where the royal family live, and where the court is held. The citadel houses a garrison of at least 12,000 men and had never fallen in a siege before Morgause's invasion by her immortal army. It is currently the home of Guinevere Pendragon, the Queen of Camelot after her husband King Arthur Pendragon. In virtual fan art, Arthur Pendragon is shown to be a very wealthy kingdom as it offers a prize of a thousand gold coins for participation in its tournaments. Camelot is widely known for its laws banning all forms of magic and enchantments on penalty of death, usually by burning or beheading. However, the meter theater illustrates of Merlin who is Arthur's servant, secret protector, and best friend, and Gaius's ward and apprentice. Serves as an unofficial member of Arthur's Round Table and is a direct enemy of Mordred and Morgana. Waiting for Arthur to rise again. He is destined to protect Arthur so he can unite Albion under one high King.
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Kanter, Deborah E. "Chicana Sexuality and Gender: Cultural Refiguring in Literature, Oral History, and Art, by Debra J. Blake and, Latinos and the U.S. South, by José María ManteroChicana Sexuality and Gender: Cultural Refiguring in Literature, Oral History, and Art, by Debra J. Blake. Latin America Otherwise series. Durham, North Carolina, Duke University Press, 2008. xiii, 296 pp. $84.95 US (cloth), $23.95 US (paper).Latinos and the U.S. South, by José María Mantero. London, Praeger, 2008. xxvi, 283 pp. $49.95 US (cloth)." Canadian Journal of History 45, no. 1 (April 2010): 167–69. http://dx.doi.org/10.3138/cjh.45.1.167.
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Moggach, Douglas. "Art, Objectivity, and Idea: Bruno Bauer's Critique of Kant and the Theory of Infinite Self-consciousness." Hegel Bulletin 22, no. 1-2 (January 2001): 52–71. http://dx.doi.org/10.1017/s0263523200001592.
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Students of the Hegelian school must acknowledge an abiding debt to Ernst Barnikol. Upon his death in 1968, he left uncompleted a voluminous manuscript on Bruno Bauer, representing over forty years of research. Of this manuscript, conserved at the International Institute for Social History, Amsterdam, only a fraction has been published, but even this fraction, in its almost six hundred pages, continues to set standards in the field for meticulous scholarship, rigorous analysis, and balanced criticism. Barnikol's interests were primarily theological, though he recognised clearly that Bauer's religious critique was politically motivated. Barnikol also discovered, but did not publish, Bauer's 1829 Latin manuscript on Kant's aesthetics. This text, adjudicated by Hegel and awarded the Prussian royal prize in philosophy, had been deposited among Hegel's correspondence in the archives of the Humboldt-Universität, Berlin. It was first published in 1996, in the original Latin, with German translation and commentary. In referring to his discovery, Barnikol made a substantive claim which must be disputed here, that Bauer's early text remained without influence on his subsequent work. Focusing on Bauer's depiction of art, and on the relation of art and religion as manifestations of spirit, we can trace lines of continuity and development in his thought, from his 1829 manuscript to his writings of 1841-42. The central idea of the early manuscript, a Hegelian conception of the unity of thought and being, is the key to deciphering the complex and elusive meaning of Bauer's critical theory in the Vormdrz.
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.
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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.
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Sims, Thomas. "SOME THOUGHTS ON THEODECTAS’ MAVSOLVS." Classical Quarterly 70, no. 1 (May 2020): 131–36. http://dx.doi.org/10.1017/s0009838820000245.
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The Suda tells us the following about the elder Theodectas, the Phaselian orator and tragedian: Θεοδέκτης, Ἀριστάνδρου, Φασηλίτης ἐκ Λυκίας, ῥήτωρ, τραπεὶς δὲ ἐπὶ τραγῳδίας, μαθητὴς Πλάτωνος καὶ Ἰσοκράτους καὶ Ἀριστοτέλους. οὗτος καὶ ὁ Ἐρυθραῖος Ναυκράτης καὶ Ἰσοκράτης ὁ ῥήτωρ, ὁ Ἀπολλωνιάτης, καὶ Θεόπομπος, ἐπὶ τῆς ρϛ́ ὀλυμπιάδος εἶπον ἐπιτάφιον ἐπὶ Μαυσώλῳ, Ἀρτεμισίας τῆς γυναικὸς αὐτοῦ προτρεψαμένης. καὶ ἐνίκησε μάλιστα εὐδοκιμήσας ἐν ᾗ εἶπε τραγῳδίᾳ. ἄλλοι δέ φασι Θεόπομπον ἔχειν τὰ πρωτεῖα. δράματα δὲ ἐδίδαξε ν́. τελευτᾷ δὲ ἐν Ἀθήναις ἐτῶν ἑνὸς καὶ μ́, ἔτι τοῦ πατρὸς αὐτοῦ περιόντος. ἔγραψε δὲ καὶ τέχνην ῥητορικὴν ἐν μέτρωι, καὶ ἄλλα τινα καταλογάδην.Theodectas, son of Aristander, from Phaselis in Lycia, an orator, then he turned to tragedy, a pupil of Plato, Isocrates and Aristotle. This man [that is, Theodectas] and Naucrates from Erythrae and Isocrates the orator from Apollonia and Theopompus, in the 106th Olympiad [356/5–353/2 b.c.], gave funeral speeches for Mausolus, at the instigation of his widow Artemisia. And [Theodectas] won, gaining great honour in the tragedy which he spoke. Others, however, say that Theopompus won first prize. He [that is, Theodectas] produced fifty plays. He died in Athens at the age of 41, being survived by his father. He also wrote an Art of Rhetoric in verse, and some other works in prose.
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Cieślak, Stanisław. "Stanisław Bednarski SJ i prof. Stanisław Kot: uczeń i mistrz." Studia Historiae Scientiarum 17 (December 12, 2018): 119–49. http://dx.doi.org/10.4467/2543702xshs.18.006.9326.
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On September 15th 1922, a young Jesuit, Father S. Bednarski, enrolled at the Jagiellonian University, Department of Philosophy, Faculty of Humanities, with specialization in modern history, history of culture and history of art. One of his college professors was a well-known historian, Prof. Stanisław Kot. The Jesuit and Prof. S. Kot shared historical interests and ties of friendship. Prof. S. Kot became the mentor and professor adviser of the Jesuit’s doctoral dissertation, Collapse and rebirth of Jesuit schools in Poland (Kraków, 1933), which on June 15th1934 was awarded a prize by the PAU General Assembly and was considered the best historical work in 1933. During his research in archives and libraries in Poland and abroad, the Jesuit had in mind not only his own plans but also his mentor’s interests. The student was loyal to his mentor, who was associated with the anti-Piłsudski faction and politically engaged in activities of the Polish Peasant Party. For this reason, Prof. S. Kot did not enjoy the trust of the state authorities. In 1933, as a result of Jędrzejewicz reform, the Chair of Cultural History headed by him was abolished. Fr. S. Bednarski bravely stood in its defence. The friendship of the mentor and student’s ended in World War II. Prof. S. Kot survived the War and emigrated, where he remained active in politics, while his student died on July 16, 1942 in the German Nazi concentration camp in Dachau near Munich.
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Burchmore, Alex. "Oxford Art Journal Essay Prize Winner 2018 La maladie de porcelaine: Liu Jianhua’s Regular/Fragile (2007) at Oxburgh Hall and the History of Massed Porcelain Display in English Aristocratic Interiors." Oxford Art Journal 42, no. 3 (December 1, 2019): 253–81. http://dx.doi.org/10.1093/oxartj/kcz016.
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Romanowska-Zadrożna, Maria. "A KNIGHT IN THE SERVICE OF ART. HANNA BENESZ IN MEMORIAM (1947–2019)." Muzealnictwo 62 (March 17, 2021): 13–22. http://dx.doi.org/10.5604/01.3001.0014.8096.
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Hanna Benesz graduated from the Institutes: of Art History and of Applied Linguistics at the University of Warsaw. Her whole career launched in 1975 remained inseparably connected with the National Museum in Warsaw, where she worked at the Gallery of European Art curating the Flemish and Dutch collections. She followed all the promotion steps: from assistant to curator. Benesz strongly believed that museum curator’s job was grounded in a perfect knowledge of the collection. Thanks to her research conducted into the paintings amassed in National Museum’s storerooms, she successfully attributed a substantial number of works and identified provenance of many. She studied iconography applying research methods worked out by iconology. Moreover, she focused on the paintings’ technical condition, this occasionally leading to spectacular ‘restorations’, e.g. the identification of a genuine work by Abraham Janssens (ca 1575–1632) the Lamentation of Christ in a forgotten work, previously considered to be a copy. Author and co-author of many exhibitions, she cooperated with museum curators around the world. Her exhibition on Baroque art reached as far as Japan. Benesz’s intention was not only to present the paintings from the National Museum’s collections through a direct contact of visitors with the works, but also in publications, mainly in English and online. As soon as she became curator, together with Maria Kluk she focused on working out the reasoned catalogue Early Netherlandish, Dutch, Flemish and Belgian Paintings 1494–1983 in the Collections of the National Museum in Warsaw and the Palace at Nieborów. Complete Illustrated Summary Catalogue, published in 2016. A year later, the Catalogue was honoured with the main prize in the Sybilla Competition in the category for publications, while the King of the Netherlands awarded Hanna Benesz with the chivalric Order of Orange-Nassau (Oranje-Nassau) of the 5th grade; she was decorated with it by the Ambassador of the Kingdom of the Netherlands during the 20th CODART Congress held at the Warsaw Łazienki Palace. Not only was Hanna Benesz an outstanding museum curator and scholar, but also a trusted friend and a warm empathetic person, sensitive to other people’s misfortunes.
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McCarthy, Christine. "Bicultural Architecture." Architectural History Aotearoa 6 (October 30, 2009): 21–32. http://dx.doi.org/10.26686/aha.v6i.6752.
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The 1980s appears to be the first time in New Zealand that "biculturalism," a term first coined in Canada in 1940, became linked to New Zealand architecture. The 1980s was a period when the significance of Māori art and culture was increasingly apparent. Te Kōhanga Reo was established in Wainuiomata in 1982, Keri Hulme's The Bone People won the 1985 Booker Prize. The enormously successsful "Te Māori" exhibition, the first international exhibition of Māori taonga, opened at the Metropolitan Museum of Art, New York in 1984, later touring New Zealand in 1986 renamed: "Te Māori: Te Hokinga mai. The Return home." The cultural and political inevitabilities of the Tangata Whenua (1974) television series, the establishment of the Waitangi Tribunal (1975), the Māori Land March (1975), the republication of Dick Scott's The Parihaka Story (1954) as Ask that Mountain (1975), the Bastion Point protests (1977-78), the occupation of Raglan Golf Course (1978), and the Springbok Tour (1981), meant that by the 1980s Pākehā and Māori were questioning their relative postions in New Zealand society. In architecture the success of urban marae, the construction of institutional marae (e.g. Waipapa Marae, University of Auckland by Ivan Mercep, Jasmax, 1988), and the recognition of John Scott's Futuna Chapel as bicultural, twinned with a growing awareness of the asymmetrical privileging of Pākehā over Māori, would all contribute to a greater motivation for biculturalism in architecture. This paper examines the development of the use of the term "bicultural architecture" in New Zealand, and the architecture proposed as warranting it, during this period of New Zealand's history.
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Grīnvalde, Rita. "Krišjāņa Barona jubilejas latviešu folkloristikā." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums 27 (March 10, 2022): 154–72. http://dx.doi.org/10.37384/aplkp.2022.27.154.
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The birth and death remembrance anniversaries of Krišjānis Barons (31.10.1835–08.03.1923), editor of folk songs and publisher of “Latvju dainas” (Latvian Folk Songs, 1894–1915), received widespread attention already in the interwar period, both in the humanities and in Latvian society in general. Shortly after Barons’ death, in honour of his memory, several significant projects in the history of Latvian culture and scholarship were launched: the Barons’ Society (1924–1940) and the Archives of Latvian Folklore were founded (1924), and the Krišjānis Barons’ Prize was established (1926–1940). However, the most ambitious cultural memory activities are associated with the celebration of his 150th anniversary between 1981 and 1985. This anniversary promoted works of research, art, literature, and cinema, the emergence of new cultural sites, as well as encouraged the general public to strive for Latvian independence. Of lasting significance was the tradition of the annual conference of Krišjānis Barons, which began in 1981 by A. Upīts’ Institute of Language and Literature at the Latvian SSR Academy of Sciences. The aim of the article is to understand the construction of the memory of Krišjānis Barons in a diachronic aspect, using the theoretical approaches of memory studies and postcolonial studies for interpretation. Based on the archival and published materials, the article traces the history of Barons’ commemoration activities during the 20th century and provides an analysis of their role in the context of cultural policy, ideologies of their time, and the disciplinary history of folklore studies.
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Valiev, Niiaz, Vladimir Propp, and Aleksandr Vandyshev. "The 100th Anniversary of the Department of Mining Engineering of UrSMU." Izvestiya vysshikh uchebnykh zavedenii Gornyi zhurnal 1, no. 8 (December 21, 2020): 130–43. http://dx.doi.org/10.21440/0536-1028-2020-8-130-143.
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The article is dedicated to the history of the Department of Mining Engineering establishment and development. The Department of Mining Arts used to be its original name. The department has been reformed several times over its centennial history. In 1931 the country was in urgent need in engineers with narrow specializations and the department was divided into 6 departments: sheet deposits development, ore mining, mine construction, mine aeration and work safety, mine transport, and industrial management. Each of the departments still exists making its contribution to high-skilled mining engineers training. The departments of sheet deposits development and ore mining were an exception, as soon as they amalgamated 78 years later to establish the Department of Mining Engineering in 2009. Over the entire period of its existence, the departments of mining art-mining engineering have trained more than 10 thousand mining engineers, including 52 thousand specialists for foreign countries. The graduates have been working successfully in all regions of the Soviet Union and still work for mining enterprises in Russia and abroad. There are 2 academicians, 18 Doctors of Science, more than 60 PhDs, 3 Lenin and State Prize laureates, 6 Heroes of Socialist Labour, 2 Deputy Ministers of the Government of the Russian Federation, local Government Chairmen, and Governors of the regions of the Russian Federation among the graduates of the department.
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Gavrilă, Ana-Maria. "Holocaust Representation and Graphical Strangeness in Art Spiegelman’s Maus: A Survivor’s Tale: “Funny Animals,” Constellations, and Traumatic Memory." Acta Universitatis Sapientiae Communicatio 4, no. 1 (December 1, 2017): 61–75. http://dx.doi.org/10.1515/auscom-2017-0003.
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Abstract Art Spiegelman’s MAUS, a Pulitzer-prize-winning two-volume graphic novel, zooms into wartime Poland, interweaving young Vladek’s – the author’s father – experiences of World War II and the present day through uncanny visual and verbal representational strategies characteristic of the comics medium. “I’m literally giving a form to my father’s words and narrative”, Spiegelman remarks on MAUS, “and that form for me has to do with panel size, panel rhythms, and visual structures of the page”. The risky artistic strategies and the “strangeness” of its form, to use Harold Bloom’s term, are essential to how the author represents the horrors of the Holocaust: by means of anthropomorphic caricatures and stereotypes depicting Germans as cats, Jewish people as mice, Poles as pigs, and so on. Readings of MAUS often focus on the cultural connotations in the context of postmodernism and in the Holocaust literature tradition, diminishing the importance of its hybrid narrative form in portraying honest, even devastating events. Using this idea as a point of departure, along with a theoretical approach to traumatic memory and the oppressed survivor’s story, I will cover three main topics: the “bleeding” and re-building of history, in an excruciating obsession to save his father’s – a survivor of Auschwitz – story for posterity and to mend their alienating relationship and inability to relate; the connection between past and present, the traumatic subject, and the vulnerability it assumes in drawing and writing about life during the Holocaust as well as the unusual visual and narrative structure of the text. The key element of my study, as I analyse a range of sections of the book, focuses on the profound and astonishing strangeness of the work itself, which consequently assured MAUS a canonical status in the comics’ tradition.
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Crăciunescu, Pompiliu. "An Immobile Nomad: “the Peasant from the Danube”." Human and Social Studies 7, no. 3 (October 1, 2018): 69–79. http://dx.doi.org/10.2478/hssr-2018-0025.
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Abstract European writer of Romanian origin, Vintila Horia (1915-1992) - Goncourt Prize in 1960 for the novel Dieu est né enexil - was a truly awakened consciousness of his time. Wherever he was - in Bucharest or Florence, Buenos Aires or Paris, Rome or Madrid - this “polyglot nomad” (Jean-François-Malherbe) never left the unyielding values of the spirit and of knowledge. His work of literary epistemology, hisnovelistic creation - fed by exile, love and by the divine -, as well as the Journal d’un paysan du Danube (1966), stand as testimony. Focal point of my approach, this text sheds light on the metaphysical realm of a way of thinking in which the undivided man (a double-faced reality: big infinity /small infinity) and the man to come are one and the same. Since for the exiled VintilaHoria,”the peasant from the Danube” is “celui dans lequel ce qui fut rencontre celui qui sera, dans un espace-temps non-euclidien”, and his journal emphasizes this “rediscovery”, in spite of the dark times of history; an encounter in, through and beyond the broken grounds of science, art and philosophy, but nevertheless, deeply anchored in philosophy, art and science. Apparently, rediscovery and isolation of the same proportion; in fact, we are talking about an anagnorisis: the inner man and the outer man have never separated, despite the “microbial fauna of Kali Yuga” (“la faunemicrobienne du Kali Yuga”). “Nomade polyglotte” through his evolution, a result of flawless reflexive stability, Vintila Horia proves himself to be, at the same time, animmobile nomad; “the peasant from the Danube” is the plenary expression of this unusual simultaneity.
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György, Horváth. "Adalékok Kondor Béla sors-történetéhez." Művészettörténeti Értesítő 69, no. 2 (March 30, 2021): 171–256. http://dx.doi.org/10.1556/080.2020.00011.
Full textAbstract:
In the course of my research in archives – in search of documents about the history of the Art Foundation of the People’s Republic (from 1968 Art Fund) – while leafing through the sea of files in the National Archives of Hungary (MNL OL) year after year, I came across so-far unknown documents on the life and fate of Béla Kondor which had been overlooked by the special literature so far.Some reflected the character of the period from summer of 1956 to spring 1957, more precisely to the opening of the Spring Exhibition. In that spring, after relieving Rákosi of his office, the HWP (Hungarian Workers’ Party, Hun. MDP) cared less for “providing guidance for the arts”, as they were preoccupied with other, more troublesome problems. In the winter/spring after the revolution started on 23 October and crushed on 4 November the echelon of the HSWP (Hungarian Socialist Workers’ Party, Hun. MSzMP) had not decided yet whether to strike a league with extreme leftist artistic groups or to pay heed to Memos Makris (Hun. Makrisz Agamemnon), the ministerial commissioner designing the reform of the artists’ association and organizing the Spring Exhibition and to leave the artists – so-far forced into the strait-jacket of socialist realism – alone. I found some documents which shed bright light on the narrow-mindedness of the dogmatic artistic policy trying to bend the artists toward its goals now with the whip, now with milk cake.I start the series of recovered documents with a ministerial file dated summer 1956 on the decision to purchase Kondor’s diploma work (the Dózsa cycle). The next piece of good news is a record of the committee meeting in February 1957 awarding Kondor a Derkovits scholarship. This is followed by ministerial letters – mirrors of the new artistic policy – by a changed, truly partyist scholarship committee which apparently revel in lecturing talented Kondor who was not willing to give up his sovereignty, so his works were often refused to be bought on state funds for museums.In addition to whip-lashing documents, I also present a few which offered some milk cake: a letter inviting him to a book illustrating competition called by the Petőfi Literary Museum and one commissioning him to make the sheets on the Heves county part of a “liberation album”.Next, I put forth a group of illumining documents – long known but never published in details: the files revealing the story of the large panels designed for the walls of the “Uranium city” kindergarten in Pécs and those revealing the preparations for the exhibition in Fényes Adolf gallery in 1960 and the causes of the concurrent tensions – including texts on decisions to hinder the publication of Lajos Németh’s catalogue introduction.The last group includes futile efforts by architects to get Kondor commissions for murals. They give information on three possible works. Another for Pécs again (this time with Tibor Csernus), for works for a “men’s hostel” and on the failure of the possibility. The other is about works for Kecskemét’s Aranyhomok Hotel, another failure. The third is about a glass window competition for a new modern hotel to be built in Salgótarján, to which Kondor was also invited, but the jury did not find his work satisfactory in spite of the fact that the officials representing the city’s “party and council” organs, and the powerful head of the county and town, the president of the county committee of the HSWP all were in favour of commissioning him.Mind you, the architects’ efforts to provide the handful of modern artists with orders for “abstract” works caused headache for the masterminds of controlled art policy, too. On the one hand, they also tried to get rid of the rigidity of the ideologically dogmatic period in line with “who is not against us, is with us”, the motto spreading with political détente, and to give room to these genres qualified as “decoration”. On the other hand, they did not want to give up the figurative works of socialist contents, which the architects wanted to keep away from their modern buildings. A compromise was born: Cultural Affairs and the Art Fund remained supporters of figurative works, and the “decorative” modern murals, mosaics and sculptures were allowed inside the buildings at the cost of the builders.Apart from architects, naturally there were other spokesmen in favour of Kondor (and Csernus and the rest of the shelved artists). In an essay in Új Irás in summer 1961 Lajos Németh simply branded it a waste to deprive Kondor of all channels except book illustration, while anonymous colleagues of the National Gallery guided an American curator to him who organized an exhibition of Kondor’s graphic works he had packed into his suitcase in the Museum of Modern Art in Miami.From the early 1963 – as the rest of the explored documents reveal – better times began in Hungarian internal and cultural politics, hence in Béla Kondor’s life, too. The beginning is marked by a – still “exclusive” – exhibition he could hold in the Young Artists’ Studio in January, followed by a long propitiatory article urging for publicity for Kondor by a young journalist of Magyar Nemzet, Attila Kristóf. Then, in December Kondor became the Grand Prix winner of the second Graphic Biennial of Miskolc.From then on, the documents are no longer about incomprehensible prohibitions or at time self-satisfying wickedness, but about exhibitions (the first in King Stephen Museum, Székesfehérvár), prizes (including the Munkácsy Prize in April 1965), purchases, the marvellous panel for the Grand Hotel on Margaret Island, the preparations for the Venice Biennale of 1968, the exhibition in Art Hall/Műcsarnok in 1970 and its success, and Kondor’s second Munkácsy Prize.Finally, I chanced upon a group of startling and sofar wholly unknown notes which reveals that Béla Kondor was being among the nominees for the 1973 Kossuth Prize. News of his death on 12 December 1972, documents about the museum deposition of his posthumous works and the above group of files close the account of his life.I wrote a detailed study to accompany the documents. My intention was not to explain them – as they speak for themselves – but to insert them in the life-story of Kondor, trying to find out which and how, to what extent contributed to the veering of his life-course and to possibilities of publicity for his works. I obviously included several further facts, partly in the main body of the text, and partly in footnotes. Without presenting them here, let me just pick one or two.Events around the 1960 exhibition kindled the attention not only of the deputy minister of culture György Aczél, but also of the Ministry of the Interior: as Anikó B. Nagy dug out, they asked for an agent’s report on who Kondor was, what role he was playing among young writers, architects, artists, the circle around Vigilia and the intellectuals in general. Also: what role did human cowardice play in banning the panels for the Pécs kindergarten, and how wicked it was – with regulations cited – to ask back the advance money from an artist already hardly making a living with the termination of the Der ko vits scholarship. Again: what turn did modern Hungarian architecture undergo in the early sixties to dare and challenge the still prevalent culture political red tape? It was also a special experience to track down and describe the preparations for the Hungarian exhibition of the Venice Biennial of 1968 and to see how much caution and manoeuvring was needed even in those milder years to get permission for Béla Kondor (in the company of Tibor Vilt and Ignác Kokas) to feature in the pavilion. Finally, it was informative to follow the routes of Kondor’s estate as state acquisitions and museum deposits after his death which foiled his Kossuth Prize.
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Semergeev, Valery B., and Gennady K. Afanasiev. "TRADITIONS OF BALALAIKA ART IN OREL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 197–202. http://dx.doi.org/10.17223/22220836/39/18.
Full textAbstract:
The role of a musical instrument in the development, preservation and revival of the native cul-ture, in the establishment of esthetic consciousness of multinational Russia’s peoples is difficult to overestimate. Balalaika has won the audience’s hearts, and today it is difficult to find balalaika admirers who are not familiar with performances of accomplished balalaika players – People’s Artist of the USSR, the laureate of state prize, Professor P.I. Necheporenco, People’s Artist of Russia, Pro-fessor E.G. Blinov, and their many students and followers. Orel is home of one of the oldest educational institutions in Russia – Orel Musical College, which, according to the archive documents of Orel and St. Petersburg, was founded in 1877. The good name of the College is supported by its today’s students and teachers. It is here where Orel’s balalaika education was established and developed. In August 1953, on the initiative of the Main Department for Arts of the Ministry of Culture of the Russian Federation, the graduate of the Department of String Musical Instruments of Oktyabrskaya Revolutsiya Music College (now “A.Schnittke Moscow State Institute of Music”) Vera Ivanovna Max-imova came to Orel. It was V.I. Maximova who took charge of creating the string folk music instru-ments class. She also taught domra and balalaika class and was the head of the folk music instruments orchestra of the College. She traveled a lot seeking out young talents in the districts of the Region. Lukonina Lubov Ivanovna, a famous teacher in Orel, combines her work in the ensemble “Or-lovski Suvenir” (“Orel Souvenir”) with educating younger generation of musicians and teachers of Orel. Following their teacher’s traditions, L.I. Lukonina’s students participate in various contests and become laureates. The graduate of Orel Music College, Nadezhda Mikhailovna Kovaleva carries on the work of A.V. Dorofeev and V.I. Maximova. In 1969 she enters the Tambov Branch of Moscow Institute of Culture. For family reasons she interrupts her studies and continues her education at the Orel Branch of Moscow Institute of Culture (now Orel State Institute of Culture). Alexander Alexandrovich Somov is one of the few balalaika players who, for many years, is demonstrating excellent performing skills, stability, brilliant virtuoso technique, impeccable musical taste, artistry. It is amazing how sonorous the voice of the balalaika becomes when it is in the hands of the virtuoso performer and propagandist of this Russian beauty. Stacatto dance tunes and brooding reverie, vigorous energy and strict simplicity fill the musician’s play. Graduating from V.S. Kalinnikov Music School in Orel, balalaika class of N.M. Kovaleva, he entered Orel Music College, the class of L.I. Lukonina. After the graduation A.A. Somov served his military service and entered Rostov State Music Institute (now Rostov State Conservatory. Rachmaninov). He was enrolled in the class of the famous balalaika player, Honored Artist of Russia, rector – А.S. Danilov. At the Institute he worked in the ensemble “Dontsi” (artistic director – Honored Worker of Culture of the Russian Federation, A.P. Kolontaev). Selina Galina Ivanovna is one of those prominent musicians-teachers who are capable of encouraging love for music in their students. She is sincerely involved in her work, which is aimed at bringing both professional skills and rich musical knowledge to students. In Orel there is a professional orchestra of folk music instruments, which is the first orchestra of this kind in the history of the Orel Region. It engages Orel’s best musicians and teachers. The first performance of the professional orchestra of folk music instruments took place in Orel on November 5, 1987. The orchestra was created on the basis of the Region’s musical society. In January 1991, by the decision of the administrative bodies of Orel, it received the status of the munici-pal orchestra. The founder and artistic director of the ensemble is Honoured Art Worker of Russia, Professor of the Orel State Institute of Culture, Viktor Kirianovich Suchoroslov. Orel’s educators are trying to revive and spread the native Russian traditions of instrumental per-formance and enrich them with high performing culture. Creative and pedagogical activities of balalai-ka players in the Orel Region convincingly show the high professional level of musicians. Teachers of modern children's art schools, College of Culture and Arts, Music College and Orel State Institute of Culture are highly qualified, competent and dedicated professionals who inspire their students. Crea-tive and pedagogical activities of balalaika players in Orel contribute to further preservation and development of this type of performing art.