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Tchougounnikov, Serge. "European Formalism and Empiriocriticism: Formalism within the International Empiriocritical Movement." Linguistic Frontiers 3, no. 1 (June 1, 2020): 39–47. http://dx.doi.org/10.2478/lf-2020-0004.
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AbstractThis paper argues that Russian Formalism is to be considered a constitutive part of the international empiriocritical movement—Ernst Mach (1838—1916) and Richard Avenarius’s (1843—1896). The conceptual parallelism between Empiriocriticism and Formalism is striking indeed. Thus, the cornerstones of the empiriocritical approach—the concept of series [Reihe] and the concept of elements [Elemente], understood as sensations [Empfindungen]—are plainly recognizable within formalist theories: the notion of ‘series’ (for example, the notion of ‘literary series’ or ‘poetic series’, leading to the famous concept of ‘literariness’, literaturnost’) and the very formalist idea of a necessarily perceptible character of aesthetic form are only two, most famous, examples of this astonishing affinity. Here are some of the most striking convergences between Empiriocriticism and Formalism: the relativity of any knowledge; continuity between knowledge and perception; the pragmatic dominant; the leitmotif of ‘the Unsalvageable Ego’. Besides, the paper seeks to situate Russian Formalism within European Aesthetic German-speaking Formalism. This kind of formalism formulates some basic oppositions correlated to different types of forming being associated with specific means and specific formal devices to affect them. In this context, particular morphological features result in producing particular feelings conceived in the spatial or syntactic perspective. From its German-speaking analogue, Russian Formalism has inherited this relational and spatial definition of feelings and, largely speaking, of emotionality within art. Indeed, both formalisms treat emotion as a ‘non-subjective’, ‘kinetic’, ‘syntactic’ phenomenon located on the surface of aesthetic objects.
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Lauter, Estella. "Re-enfranchising Art: Feminist Interventions in the Theory of Art." Hypatia 5, no. 2 (1990): 91–106. http://dx.doi.org/10.1111/j.1527-2001.1990.tb00419.x.
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Feminist analyses of the roles gender has played in art lead to an alternative theory that emphasizes art's complex interactions with culture(s) rather than the autonomy within culture claimed for it by formalism. Focusing on the visual arts, 1 extrapolate the new theory from feminist research and compare it with formalist precepts. Sharing Arthur Danto's concern that art has been disenfranchised in the twentieth century by its preoccupation with theory, I claim that feminist thought re'enfranchises art by revisioning its relationship to its contexts.
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Khrenov, Nikolai A. "ART CRITICISM SELF-DEFINITION OF RUSSIAN FORMALISTS." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 1 (2024): 128–38. http://dx.doi.org/10.28995/2073-6401-2024-1-128-138.
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The article considers the limits of self-definition of Russian formalist philologists as art researchers. It is demonstrated that formalism was in a state of double crisis: the crisis of ambitions of symbolism and the crisis of positivist art criticism. The crisis of symbolism forced the formalists to look for a new positivist code to substantiate their work, while the crisis of positivism itself required the use of particular aesthetic narratives. The era of general aesthetics came, which evolved from a project in the vein of B. Croce into a shared self-definition of art as probing the gap between the possible and the actual. Formalism, with its pathos of the reality of the word, could not entirely renounce the domain of the possible, which was conceptualized as the core aesthetic sphere, including the production of personal reactions to what was happening. Only the contextualization of formalism within the linguistic turn, drawing on the ideas of Bakhtin and Gadamer, allows us to realize the input of the movement not only to the methods of certain humanities, but also to the specification of art in the 20th century.
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Singh, Laishram Samson, and Mousumi Deka. "K.C.S. Paniker's Words and Symbols: A Formalist Approach." ECS Transactions 107, no. 1 (April 24, 2022): 8923–37. http://dx.doi.org/10.1149/10701.8923ecst.
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Formalism developed from the 19th century aesthetic of “Art for art’s sake.” The Formalist exponents believed in the evaluation of a artwork solely based on its form rather than its content. They reacted to an artwork on its formal and aesthetic qualities. Understanding the depth of Formalism is crucial in appreciating modern abstract art both of the West as well Indian. K. C. S. Paniker, being one of the most important figures in the abstractions of post-independence India, and had many influences from western artists, although he always maintained his Indian identity in his works. His series of ‘Words and Symbols’ is one of his most important contribution to modern Indian art in which he was interested in the formal structure of the ancient Indian texts and symbols. Therefore, this paper aims at understanding the more complex nature of Formalism and how that can be used to reassess Paniker’s works.
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Lapidus, R. "THE AIMS AND ACHIEVEMENTS OF THE RUSSIAN FORMALISTS IN THE YEARS 1913-1925." East European Scientific Journal 3, no. 7(71) (August 11, 2021): 4–11. http://dx.doi.org/10.31618/essa.2782-1994.2021.3.71.94.
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The formalist groups which were active in Russia between the years 1913 and 1925 initiated the formalist method. This method has been shown to have had very significant consequences for the development of the humanities and to a certain degree also for the social sciences in the twentieth century. Although formalism was originally intended only as a method of research, it gave rise - even if indirectly and over many decades - to new conceptions in art and science as a whole. We will now examine the chief basic principles of Russian formalism as revealed in the sources of the period and we will look at its achievements from the vantage-point of more than a hundred years after it began.
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Shorkend, Daniel. "Artistic Formalism in Relation to Sport." International Journal of Social Science Studies 7, no. 2 (February 20, 2019): 71. http://dx.doi.org/10.11114/ijsss.v7i2.4081.
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I argue that sport can be considered aesthetic and thus converge with a certain view of art. We can enjoy abundance and proliferation as well as negation and austerity in nature, art and sport. The aesthetics of abundance and negation are “intertwined” in sport as art-like. Sport is well positioned to perform art’s cultural task better than traditional forms of art. Art and sport are intertwined in the sense that sport as an aesthetic, cultural phenomenon may continue the work of art. By aesthetics, the author focuses on notions of formalism in sport. This “will to form” is predicated on the need humans have for order, pattern and harmony. In that sense, art and sport might offer us a vision of clarity and precision. A theory of formalism applies equally to art and sport.
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Verheyen, Leen. "The Aesthetic Experience of the Literary Artwork: A Matter of Form and Content?" Aesthetic Investigations 1, no. 1 (July 16, 2015): 23–32. http://dx.doi.org/10.58519/aesthinv.v1i1.12003.
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Ever since the introduction of aesthetics in philosophy, the literary arts have posed a challenge to common notions of aesthetic experience. In this paper, I will focus on the problems that arise when a formalist approach to aesthetics is confronted with literature. My main target is Peter Kivy's ‘essay in literary aesthetics’ Once-Told Tales, in which Kivy defends formalism and concludes from this approach that literature is a non-aesthetic art form. Contrary to Kivy, I will claim that we have good reasons to consider literature an aesthetic art form and, therefore, that the literary arts naturally pose a challenge to formalism. By showing the inextricable intertwining of form and content in literary artworks, I will demonstrate that the identification of so-called aesthetic properties with purely formal properties of a literary artwork is problematic.
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Behnke, Gregor, Florian Pollitt, Daniel Höller, Pascal Bercher, and Ron Alford. "Making Translations to Classical Planning Competitive with Other HTN Planners." Proceedings of the AAAI Conference on Artificial Intelligence 36, no. 9 (June 28, 2022): 9687–97. http://dx.doi.org/10.1609/aaai.v36i9.21203.
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Translation-based approaches to planning allow for solving problems in complex and expressive formalisms via the means of highly efficient solvers for simpler formalisms. To be effective, these translations have to be constructed appropriately. The current existing translation of the highly expressive formalism of HTN planning into the more simple formalism of classical planning is not on par with the performance of current dedicated HTN planners. With our contributions in this paper, we close this gap: we describe new versions of the translation that reach the performance of state-of-the-art dedicated HTN planners. We present new translation techniques both for the special case of totally-ordered HTNs as well as for the general partially-ordered case. In the latter, we show that our new translation generates only linearly many actions, while the previous encoding generates and exponential number of actions.
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Tomashevsky, Boris, Gina Fisch, and Oleg Gelikman. "The New School of Literary History in Russia." PMLA/Publications of the Modern Language Association of America 119, no. 1 (January 2004): 120–32. http://dx.doi.org/10.1632/003081204x23818.
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Anthologies of literary theory, the backbone of courses on literary criticism, rely on viktor Shklovsky's “Art as a Device” or Boris Eikhenbaum's “The Theory of the ‘Formal Method‘” to broach the subject of Russian formalism. The canonical status of these essays is well deserved. Written when the author was merely twenty-four, Shklovsky's 1917 essay bristles with a polemical fervor, wit, and knack for example that announce him as a critical prodigy. Marked by the mixture of embittered pride, rigor, and self-conscious malaise typical of later formalism, Eikhenbaum's dense history of the formal school is remarkable for its titanic effort to marry historical considerations to a systematic analysis of the evolution of key formalist doctrines.
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Loesberg, Jonathan. "CULTURAL STUDIES, VICTORIAN STUDIES, AND FORMALISM." Victorian Literature and Culture 27, no. 2 (September 1999): 537–44. http://dx.doi.org/10.1017/s1060150399272191.
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VICTORIAN STUDIES, in its longstanding resistance to the formalist study of Victorian literature, has to an extent been re-enacting the anxiety of mid-Victorian poets and novelists about being entrapped in a world of art. That anxiety notoriously defined the Victorian resistance to their Romantic forebears (think of Tennyson’s and Arnold’s well-documented, ambiguous attitudes toward Wordsworth and Keats or even Dickens’s satire of Leigh Hunt as Skimpole in Bleak House). And, predictably enough, it led to the backlash of the late-century aestheticism. If one positions the anti-formalism of the various genres of historicism and cultural studies now current in the study of Victorian literature as current versions of that Victorian anxiety at being hermetically enclosed in beautiful but empty forms, then surely an aestheticist and formalist backlash is more than overdue. And, rather than taking an analytical or neutrally critical response to this flux and reflux, I intend to espouse just such a backlash. If backlash implies partialness, the potential partiality of formalism is, I think, one of its less recognized values. Indeed, I will argue, a return to a consideration of aesthetic form may, in its recognition of its own limits, return a genuine interdisciplinarity to Victorian studies, if one intends by interdisciplinary studies not the work of literary scholars treating non-literary texts, but the participation of scholars from different disciplines with different and possibly conflicting grounding questions, concerns and modes of analysis in the study of the same subject matter.
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Poliakova, Maryna. "The Concept of “Innovation” in Ukrainian Art Criticism of the 1960s: On the History of the Term." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 177–82. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306928.
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Within the framework of the history of concepts, the term “innovation” as it was understood by Ukrainian art critics and artists during the reign of socialist realism and at the same time the emergence of non-conformist Ukrainian art (1960s) is considered. It was revealed that the encouragement of innovation, so widespread in the art of socialist realism, did not mean giving the artist a creative freedom (which is a fundamental principle of art in general) but was a requirement to observe the stylistics and aesthetics of realism, to search for forms, albeit new, but filled only with socialist content. The terms “realistic innovation,” “formalism,” “tradition,” “modernism,” “artistic skill”, etc., which are related to the term “innovation,” are also considered. The harsh criticism of formalism (“formalistic tricks”) in Ukrainian art publications artificially restrained the innovative experiments of the artists
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Woodfield, Richard. "GOMBRICH, FORMALISM AND THE DESCRIPTION OF WORKS OF ART." British Journal of Aesthetics 34, no. 2 (1994): 134–45. http://dx.doi.org/10.1093/bjaesthetics/34.2.134.
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Tchougounnikov, Serge. "The formal method in Germany and Russia: the beginnings of European psycholinguistics." Linguistic Frontiers 1, no. 2 (December 1, 2018): 90–101. http://dx.doi.org/10.2478/lf-2018-0008.
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AbstractGerman–Austrian psychology is a direct source of the European formalism movement both in the German context (Germany, Austria) as well as in Russia. This interest of the formalists in the corporeal component of linguistic and literary production has resulted in a particular research stream, which could be defined as a ‘linguo-somatic orientation’. In particular, this is the case of Alois Riegl’s [1] perceptive ‘tactile–optical’ method; Adolf von Hildebrand’s [2] architectonic conception; Konrad Fiedler’s [3] ‘sensorial aesthetics’; W. Wölfflin’s [4] ‘basic concepts’ of the art history, W. Worringer’s [5] psychological arts typology as well as Oskar Walzel’s sound-corporeal poetics elaborated during 1920 [6]. Within Russian formalism, psychological notions (such as ‘representation’, ‘sensation’, ‘apperception’, ‘series’, ‘clear and dark zones of consciousness’, ‘verbal gestures’ and ‘sound gestures’) are fundamental in nearly all the formalist conceptions (Viktor Šklovskij, Evgenij Polivanov, Lev Jakubinskij, Osip Brik, Boris Eixenbaum and Jurij Tynianov). This psychological background constitutes a rather heterogeneous constellation composed of psychological aesthetics and psychological linguistics of the second half of the 19th century. Independently of its intrinsic theoretical values, the formalist way of thinking about language and literature is based on the implicit dominance of psychology, which takes its sense only with respect to the German cognitive tradition, appropriated by the Geisteswissenschaften of this time. In this respect, European formalism participates in the large movement of psychologisation of the humanities. To this extent, the case of Russian formalism is really representative: it invites the rethinking of the genealogy of European structuralism in general. This accumulation of conceptual tools borrowed from the German psychological tradition also reveals a cognitive charge of the formalist theories. The latter constitute a conceptual link between the properly psychological past of the European Geisteswissenschaften and the ‘cognitive’ future of the actual research programmes. Beyond the borrowing of conceptual tools from the psychological trend, the formal method has found in psychology its inspiration for producing new models of analysis. This intrinsically cognitivist dimension of the formalist programme explains its late success during the 1950s–1960s, the period often and abusively called the period of the cognitivist revolution. In reality, it deals with the re-emergence of the research programme of the cognitivist sciences, rather exhaustively formulated by the German psychological tradition..
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HYUN, C. H., B. DESPLANQUES, S. ANDO, and C. P. LIU. "THE OLD AND THE NEW OF PARITY-VIOLATING TWO-PION-EXCHANGE NN POTENTIAL." Modern Physics Letters A 23, no. 27n30 (September 30, 2008): 2293–96. http://dx.doi.org/10.1142/s0217732308029228.
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We consider the parity-violating two-pion-exchange potential obtained from the covari-ant formalism in the past and the state-of-the-art effective field theory approach. We discuss the behavior of the potential in coordinate space and its application to the parity-violating asymmetry in [Formula: see text] at threshold.
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Pujazon Patron, Ernesto Carlos, Chong Choon Woon, and Jose Domingo Elias Arcelles. "The Judgment of Taste and the Formalism Undertaking in the Arts." Athens Journal of Humanities & Arts 11, no. 2 (March 28, 2024): 199–222. http://dx.doi.org/10.30958/ajha.11-2-5.
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One of the main reflective activities that have fascinated every human, since pre-Historic times, is about the production and evaluation-critique of a work of art. Art is almost as old as man. It is a form of work, and this work is an activity peculiar to mankind. Man takes possession of the natural elements by transforming it. Man, also dreams working his magic upon nature of being able to transform objects and give them newform by magical means this is the production of what works means in reality, where man is, from the outset a magician. Few questions need to be established to proceed: What are the procedures to follow to analyze a work of art, what inductive processes has to take into consideration and how to establish a detachment between the work of art and the judgement of it or how to evaluate this subjective experience? This paper present two main areas for discussion; first, it establishes definitions of terms and concepts related to “Significant Form”, “Form”, “Formalism”, and “Aesthetics”; and second, the evaluation of the ‘Significant Form’ in a work of art by using Feldman methos; reaching a conclusion based on the evidence of three work of art presented.
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Kamil, Sukron. "Balagah sebagai Teori Kritik Sastra Arab Formalis: Obyek Bahasan, Praktik, dan Plus- Minusnya." Buletin Al-Turas 17, no. 1 (January 23, 2018): 1–24. http://dx.doi.org/10.15408/bat.v17i1.4285.
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The theory of modern litery criticism in the West begins with the birth of the theory of formalism in Russia between 1915-1930 developed by Jacobson, shklovsky, Eichenbaum and others. This theory is the foundation stone of modern literary science that formally consider literary work as art of language and sparate the literary works from other social sciences such as psychology, history, and culture. From this formalism theory then was born the theory of structuralism and its various manifold (post-structuralism), such as semiotics, geneticstructuralism, and others. Based on the formalism theory, literary works as autonomous works must be researched in terms of the work itself (intrinsic elemennts), not from outside ( extrinsic elements), because theory more emphasizes on the beauty of literary works. Therefore, what, is needed in criticizing a literary works is close reading, a microscopic reading of literary works as art of language.
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An, Xin, Gökçe Başar, Mikhail Stephanov, and Ho-Ung Yee. "Relativistic fluctuations in stochastic fluid dynamics." EPJ Web of Conferences 296 (2024): 13011. http://dx.doi.org/10.1051/epjconf/202429613011.
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Peckham, Andrew. "Beyond formalism: the quiescent art of formal analysis in architecture." Journal of Architecture 21, no. 5 (July 3, 2016): 679–89. http://dx.doi.org/10.1080/13602365.2016.1207441.
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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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Zapata, Carlos, and Servio Benítez. "Interlingua: a-state-of-the-art overview." Revista Facultad de Ingeniería Universidad de Antioquia, no. 47 (September 18, 2013): 117–28. http://dx.doi.org/10.17533/udea.redin.16689.
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An Interlingua is any artificial or semi-natural language, with main features like precision, neutrality, non-ambiguity and some kind of formalism to express communicative ideas. These features have converted interlinguas in useful tools for solving problems in areas like machine translation, natural language processing, and artificial intelligence. In this paper, we make an Interlingua overview, which include concepts, applications, and developed projects about it. We hope this will be the starting point of new project development around this issue
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Sarafianos, Aris. "Sensory Politics and Art History: Formalism and Modern Ways of Life." Art History 33, no. 1 (February 2010): 192–97. http://dx.doi.org/10.1111/j.1467-8365.2009.00730.x.
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Ayuningtari, Arum Wilis Kartika. "A FORMALISM CRITIQUE OF DJOKO PEKIK'S PAINTINGS ENTITLED GO TO HELL CROCODILE." JURNAL PAKARENA 7, no. 2 (November 2, 2022): 145. http://dx.doi.org/10.26858/p.v7i2.35027.
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This research aims to explain the aesthetic aspects of Djoko Pekik's paintings entitled Go to Hell Crocodile. This research uses descriptive qualitative research methods. The approach step taken in this research is the art criticism approach with analytical interpretation using Feldman's formalism art criticism. The data was obtained through observation and literature studies. The subject of criticism in this research is a painting entitled Go to Hell Crocodile (2014) made by Djoko Pekik, a realist-expressive painter from Yogyakarta. To Feldman's critique structure, in this art criticism paper, there are four parts of explanations namely description, formal analysis, interpretation, and evaluation or decision. The research's results showed that there was a significant consistency in Djoko Pekik's paintings entitled Go to Hell Crocodile (2014) with his old work in 1998 entitled Berburu Celeng. This consistency is found in the concept of ideas, he brings up the phenomenon of Indonesian socio-politics issues. In addition, consistency is also found in visual concepts such as the selection of the main object's form, the supporting objects, and his unique expressive painting styles. The results of the observations also found some transformations in the visual aspects of Djoko Pekik's paintings, but some of these aspects did not change his style in a major way and this aspect could not even be known if the art enthusiast did not make in-depth observations.
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Manshur, Fadlil Munawwar. "KAJIAN TEORI FORMALISME DAN STRUKTURALISME." SASDAYA: Gadjah Mada Journal of Humanities 3, no. 1 (February 28, 2019): 79. http://dx.doi.org/10.22146/sasdayajournal.43888.
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From the perspective of formalism theory, this study aims to reveal that a research on literary texts does not only pay attention to textual facts existing in literary works, but also needs to pay attention to what exists outside the text. In the literary works, the element of defamiliarization holds that literary language is able to express facts of stories using unfamiliar languages. From the perspective of structuralism theory, this study aims to reveal that structuralism is conceptually a continuation of formalism which largely depends on language. Structuralism theory has a close relationship with linguistics, especially in analyzing the functions of the language used. The analysis of language function can help understanding language semiotics that views literature as a sign that then led to literary semiotics. Therefore, functioning to examine a phenomenon, the concept of semiotic structuralism emerged as a social fact. Critical approach was deemed suitable to be used in this study because formalism theory and structuralism theory are part of a social construction and part of a discursive formation in the formation of subject and reality. As a result, it could be seen the position of formalism theory and structuralism theory in literary research of which raw material is language. The findings in this study are that the formalism theory in its development is dynamic and its language construction stimulates readers to respond. In principle, literary work is not autonomous because it contains author’s feelings and society’s mind. Literary research should exceed the boundaries of formalism and be able to create new vocabularies in writing novels. In the novel, there is intertextual polyvalence, which is a series and intensive dialogic linkages that are capable of giving birth to new novels. Another finding is that structuralism theory has a close relationship with linguistics, for example phonological elements in linguistics which can help literary theory in analyzing sound levels in oral literary works. This theory has also developed a study of poetry to the aesthetic level so that this study has shifted from its original aspects of verbal art only to all art and artistic aesthetics in the present time. This shift distinguishes the views between formalism and structuralism in relation to norms and values inherent in language.
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Haładewicz-Grzelak, Małgorzata, and Joanna Filipczyk. "“Contiguity” as a process of semiotic lenition in Polish socialist realism art (1949–1953)." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching 19, no. 3 (October 18, 2022): 153–200. http://dx.doi.org/10.26881/bp.2022.3.06.
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This paper investigates one aspect of the socialist enterprise that was imposed on Eastern Europe starting from 1945: the reflection of Marx’s communist ideology in the art of the period. Socrealism was but a brief episode on the Polish artistic scene, spanning only several years of the apogee of Stalinism (1949–1953). The raison d’être of this type of creative output can be circumscribed by two main tenets: (i) utter repudiation of formalism in art and stressing the need of constant vigilance for any traces thereof, and (ii) a conviction of the absolute ideological utilitarianism of art. Our project aims to semiotically inquire into the repercussions of refuting formalism in art and to disambiguate the semiotic mechanisms behind ideologically loaded artistic expression of the period, focusing on the dynamic aspect of semiosis. This will be done using the paradigm of the Tartu-Moscow school of semiotics and tropology in art (Chrzanowska-Kluczewska e.g. 2014). In particular, we will concentrate on the Tartu concepts of entropy, vacuous interlocutor, semiotic transparency and the metaphor-versus-metonymy dyad. The emerging category is contiguity: in Peircean as well as in cognitive terms. The study is informed by materials from the collections of Muzeum Śląska Opolskiego (Museum of Opole Silesia), in particular those presented in the exhibition Sztuka musi być zrozumiała dla mas [Art must be comprehensible for the masses] (Opole, Poland 2012, curator: Joanna Filipczyk) in particular paintings and texts, and by material excerpted from selected issues of the art journal of the period, Przegląd Artystyczny [Art Review] from the years 1949–1953. The study shows that the processes underlying this type of output can be classified as semiotic reduction relying on contiguity.
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Szwed, Marcin. "Nadmierny formalizm procesowy jako naruszenie art. 6 ust. 1 Konwencji o ochronie praw człowieka i podstawowych wolności." Ruch Prawniczy, Ekonomiczny i Socjologiczny 82, no. 2 (June 30, 2020): 123–36. http://dx.doi.org/10.14746/rpeis.2020.82.2.9.
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All judicial proceedings are inevitably based on the formalized procedures. Procedural provisions pursue many important objectives, such ensuring the effectiveness of proceedings or protecting legal certainty by regulating the competences of procedural bodies and the rights and duties of parties. At the same time, excessive procedural formalism may disproportionately limit the right to court, making access to court illusory. Within the framework of the European Convention on Human Rights, the permissible limits of procedural formalism are set by Article 6(1). The European Court of Human Rights, assessing whether excessive formalism has occurred in a given case, examines whether relevant formal requirements served a legitimate purpose, in particular legal certainty and proper administration of justice, and did not lead to a disproportionate restriction of the right of access to court. This assessment is made on the basis of all relevant circumstances of the case, such as the stage at which the proceedings were terminated, the type of proceedings, the party’s due diligence, the existence of circumstances justifying failure to comply with a formal requirement or the fact that the party was represented by a professional representative. Therefore, not only the content of national provisions is important, but also the manner of their application by courts.
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Davis, Whitney. "Subjectivity and Objectivity in High and Historical Formalism." Representations 104, no. 1 (2008): 8–22. http://dx.doi.org/10.1525/rep.2008.104.1.8.
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High formalism (often identified with the criticism of modern arts) can be defined by the reification of pure formality, the promotion of close looking, and the decontextualization of "the object," its disaggregation from the archaeological and architectural assemblages in which all artifacts are usually found. It is avowedly subjective. By contrast, historical formalism (often identified with the archaeology of art in premodern and non-Western traditions) attempts a hermeneutics of integrated aspect-seeing in the past——including the constitutive historical subjectivity of formality produced by the makers of the artifacts in question——that proceeds methodologically from the formalities we can see when we organize artifacts according to explicit morphological typologies and series. It is provisionally objective.
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CHIKH-KNYSH, Bohdana. "RICHKA MASTERS OF INLAYON WOOD. FOLLOWING TRADITIONS AND FORMALISM OF FOLK ART." Ethnology Notebooks 151, no. 1 (February 22, 2020): 117–25. http://dx.doi.org/10.15407/nz2020.01.117.
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Feder, Rachel. "Review: Algebraic Art: Mathematical Formalism and Victorian Culture, by Andrea K. Henderson." Nineteenth-Century Literature 75, no. 1 (June 2020): 110–12. http://dx.doi.org/10.1525/ncl.2020.75.1.110.
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Mihaylova, Stefka. "The Radical Formalism of Suzan-Lori Parks and Sarah Kane." Theatre Survey 56, no. 2 (May 2015): 213–31. http://dx.doi.org/10.1017/s0040557415000083.
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When Suzan-Lori Parks's play Venus, about the displays of Saartjie Baartman in early nineteenth-century Europe, opened in 1996, the outrage it provoked by suggesting that its central, black character may have been complicit in her plight raised yet again one of the most inspiring and frustrating questions in modern US theatre history: how to stage the racial Other. Even the most sympathetic responses to the play revealed the difficulty of assuming a critical stance toward the racially marked body (especially the black female body) that is affectively fixed as a symbol of martyrdom and victimization. In fact, Shannon Jackson has proposed that the racially marked body's resistance to being reduced to a critical sign, free from affect, may be definitive of race as a social phenomenon. As US theatre history demonstrates, onstage this resistance is highly productive of controversy, much of which has focused on the question of which representational contracts may most accurately convey the experiences of racially marked people. In this sense, art critic Abiola Sinclair's reading of Parks's experimental aesthetic as a traitorous concession to a white theatrical tradition was unexceptional; it was a reminder of the historical efforts of African American artists to create distinctly black art.
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Squire, Michael. "Art and Archaeology." Greece and Rome 69, no. 1 (March 7, 2022): 156–61. http://dx.doi.org/10.1017/s0017383521000322.
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My first title in fact comprises two independent books. Within a section dedicated to Graeco-Roman art and archaeology, the subject may come as something of a surprise: the case study is not ‘Greek’ or ‘Roman’, nor does it derive from the extended Mediterranean. Rather, From Memory to Marble analyses the Voortrekker Monument in Pretoria, inaugurated in 1949. Elizabeth Rankin and Rolf Michael Schneider have delivered a pair of volumes almost as monumental as the installation they describe, the first examining the context, origin, and legacy of the building's frieze, the second cataloguing its twenty-seven scenes. One of the many remarkable aspects of these two books is that both have been made available as free downloads. But what really stands out in the analysis is the ‘unconditional collaboration’ (5) between an art historian and a classical archaeologist: on the one hand, the project showcases how a broader art-historical training can enrich the traditional sorts of questions posed by classical archaeology, especially when it comes to issues of pictorial narrative; on the other, it demonstrates what classical archaeological formalism can offer to contemporary art history, and indeed larger debates about cultural history and contemporary identity politics. The result will be essential reading for anyone concerned with the legacy of classical ideas and imagery in South Africa.
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Rykov, Anatoly V. "The Quarrel of the Ancients and the Moderns and the Theory of Modernism." Vestnik of Saint Petersburg University. Arts 12, no. 1 (2022): 147–63. http://dx.doi.org/10.21638/spbu15.2022.107.
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This paper considers issues of convergence of classical and modernist art theories on the example of the so-called Quarrel of the Ancients and the Moderns at the turn of the seventeenth and eighteenth centuries. The works of the main participants in this debate, Charles Perrault and Nicolas Boileau, are examined in the context of the theory of modernism and questions of the origin of modernist art. The aggravation of the contradictions between the two versions of the theory of classicism and, more broadly, the two concepts of modernity, led to the formation of new views on the nature of art in the era of late Louis XIV. The leader of the “Moderns,” Charles Perrault, became the founder of the rationalistic and scientistic theories of modernism, gravitating towards aestheticism, formalism, and semiotics of art. In this article, his theories are explored in connection with the modernist formalist discourse and theoretical work of Clement Greenberg. In addition, Charles Perrault’s theory of art is placed in the space of the theory of “aesthetic modernism” (aesthetic movement) and the theory of “art for art’s sake.” Particular attention is paid to the comparative characteristics of the texts of Charles Perrault, Oscar Wilde, and Julius Meier-Graefe. In turn, the works of the chief theoretician of the “ancients,” Nicolas Boileau, are studied in the context of ideas of the “conservative revolution.” From this perspective, the interpretation of the category of the sublime by Pseudo-Longinus, Boileau, and representatives of romantic culture is assessed. The author concludes that Nicola Boileau and Charles Perrault represent different equal branches of modernist discourse. At the same time, Charles Perrault managed not only to anticipate certain phenomena of the culture of modernism in his texts, but also to take important steps towards the contemporary scientific theory of art.
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Guyer, Paul. "Kant’s Theory of Modern Art?" Kantian Review 26, no. 4 (December 2021): 619–34. http://dx.doi.org/10.1017/s1369415421000492.
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Abstract Can Kant’s theory of fine art serve as a theory of modern art? It all depends on what ‘modern’ means. The word can mean current or contemporary, indexed to the time of use, and in that sense the answer is yes: Kant’s theory of genius implies that successful art is always to some extent novel, so there should always be something that counts as contemporary art on his theory. But ‘modern’ can also be used adjectively, perhaps more properly as ‘modernist’, to refer to art of a particular moment, in some cases superseded by postmodern art. Kant’s theory is not a theory of modernist art in at least one prominent form, the formalism of Clement Greenberg. But other theories, such as those of George Dickie and Arthur Danto, although triggered by particular works of modernist art and meant to accommodate them, were meant to be theories of what art was always doing, and Kant’s is too. In that sense it can be considered a modern theory of art but not a theory of modern art.
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Platt, Susan Noyes. "Modernism, Formalism, and Politics: The "Cubism and Abstract Art" Exhibition of 1936 at the Museum of Modern Art." Art Journal 47, no. 4 (1988): 284. http://dx.doi.org/10.2307/776979.
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Platt, Susan Noyes. "Modernism, Formalism, and Politics: The “Cubism and Abstract Art” Exhibition of 1936 at the Museum of Modern Art." Art Journal 47, no. 4 (December 1988): 284–95. http://dx.doi.org/10.1080/00043249.1988.10792426.
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BURNETT, COLIN. "The “Albert Maltz Affair” and the Debate over Para-Marxist Formalism in New Masses, 1945–1946." Journal of American Studies 48, no. 1 (May 14, 2013): 223–50. http://dx.doi.org/10.1017/s0021875813000728.
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This article reexamines the “Albert Maltz affair” in light of debates about art and literature in the journal New Masses (1926–48), as well as in international Marxist aesthetics. I argue for a reexamination of the “para-Marxist” theory of art he developed to clarify the role of leftist criticism and the “citizen writer.” The controversy stirred by the publication of Maltz's “What Shall We Ask of Writers?” (New Masses, 12 February 1946) is only fully appreciated through the aesthetic implications that many historians of the Hollywood Ten have overlooked. The immediate attacks on Maltz by critics like Mike Gold were motivated primarily by the view that a properly Marxist aesthetics must follow the Leninist–Zhdanovite theory of “art as a weapon.” More importantly, the support that Maltz and like-minded authors earned from New Masses readers for expressing the “Engelian” thesis that left-wing critics should evaluate art for dialectical tensions of form (and not solely for proletarian messages) suggests that this episode might be read as a beacon of salutary developments in international Marxist aesthetics rather than as an omen of American communist repression caused by the HUAC trials.
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Feng, Hanping, and Safrizal Shahir. "An Analysis of Spatial Construction in Pictorial Art from the Perspective of Formalism." Harmonia: Journal of Arts Research and Education 24, no. 1 (July 5, 2024): 149–57. http://dx.doi.org/10.15294/harmonia.v24i1.42152.
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“Space,” as a fundamental conceptual term, has been frequently and widely applied within various disciplines, such as sociology, architecture, philosophy, math, art, and so forth. In pictorial art, the term “space” is often used as a lens to understand specific concepts or artworks. This study aims to explain and describe pictorial spatial construction in paintings by applying various approaches. However, in the field of formalist analysis over the past century, except for a few formalist critics who have engaged with pictorial space, few have attempted to use creative methodologies to systematically analyze how pictorial space is constructed in the painting, particularly in works by contemporary painters. Therefore, to fill in this lacuna in the research, this study utilizes new formal analytical methods to analyze and explain spatial construction in paintings. In terms of the method of analysis, this study analyzes a sample of Western contemporary paintings and utilizes the approaches of the overlap of the abstract and the figurative, parallel narratives existing in multiple spaces, and the juxtaposition of different material dimensions, respectively, to rethink the method of spatial construction in the painting. The result concludes that paintings are an essential research object within visual art. The construction of image space is rich and includes multiple layers of meaning. The overlapping of abstract space (sensibility) and figurative space (rationality), as well as the coexistence of this contradictory system, enables artists to discover more possibilities when creating works and effectively enrich visual effects and textures in their paintings.
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Olson, Todd. "Skeletal Classicism." Representations 151, no. 1 (2020): 74–95. http://dx.doi.org/10.1525/rep.2020.151.4.74.
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Modern critics of French Classicism in the visual arts were indebted to a formalism derived from the natural sciences. A nineteenth-century biological discourse identified hidden analogies rather than visual similarities among different specimens, whether animals or paintings. An ambivalence to the use of biological metaphors in North American art history may be traced back to this theoretical genealogy.
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Pancaroğlu, Oya. "FORMALISM AND THE ACADEMIC FOUNDATION OF TURKISH ART IN THE EARLY TWENTIETH CENTURY." Muqarnas Online 24, no. 1 (January 1, 2007): 67–78. http://dx.doi.org/10.1163/22118993-90000111.
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Pancaroğlu, Oya. "Formalism and the Academic Foundation of Turkish Art in the Early Twentieth Century." Muqarnas Online 24, no. 1 (March 22, 2007): 67–78. http://dx.doi.org/10.1163/22118993_02401006.
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Yulia M., Bolshakova. "American Art Education in the Context of Pandemic Era Culture." Vestnik of Saint Petersburg State University of Culture, no. 1 (50) (2022): 136–44. http://dx.doi.org/10.30725/2619-0303-2022-1-136-144.
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The article analyzes the processes of art education in a pandemic. In the article, on the example of the experience of educational institutions in the United States, the conditions for changing educational technologies for the sphere of education in the field of culture and art are considered. The article analyzes the changed conditions not only for educational institutions, but also for the education sector. Studies in the field of art education show a tendency to move away from the formalism inherent in the education system, the analysis allows us to talk about the formation of the priority of interactive practices in the field of culture and education, which allows cultural and leisure organizations to survive (museums, galleries, theaters, etc.).
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Lin, Zhen. "The Formalism Issue of Catholic Iconography in China." Communications in Humanities Research 8, no. 1 (October 31, 2023): 131–36. http://dx.doi.org/10.54254/2753-7064/8/20230985.
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During the Republican period in China, the Catholic Church gradually developed and grew in China and made attempts to localize itself in different fields, one of which was the promotion of localized Catholic icon painting in the field of art. Due to the problem of divergence between Chinese and Western cultures and styles, formalistic expressions of these paintings emerged. As a representative practice of Catholic painting in China, Beiping Fu Jen Catholic University, with Chinese painting style as its main focus and Western style as its auxiliary, consciously innovated the expression of Catholic icon painting in China, however, in the expression of content and selection of subject matter, excessive emphasis was placed on Chinese visual language to cater to the tastes of Chinese audiences, and as the edifying function of Catholic painting failed to be exercised to a certain extent. There is still a certain degree of formalism. The development of Catholic painting in China needs to find a balance between the spirit of doctrine and Chinese visual culture, integrate Catholic aesthetics into the Chinese painting tradition, and create a new form of painting language, rather than the migration and appropriation of visual symbols.
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Bhattacharya, Somdatta. "Worldline Path-Integral Representations for Standard Model Propagators and Effective Actions." Advances in High Energy Physics 2017 (2017): 1–33. http://dx.doi.org/10.1155/2017/2165731.
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We develop the formalism to do worldline calculations relevant for the Standard Model. For that, we first figure out the worldline representations for the free propagators of massless chiral fermions of a single generation and gauge bosons of the Standard Model. Then we extend the formalism to the massive and dressed cases for the fermions and compute the QED vertex. We then go over fermionic one-loop effective actions and anomalies. To our knowledge, in the places where there has been an attempt at deriving the gauge boson propagator, the derivation is somewhat contrived, and we believe our derivation is more straightforward. Moreover, our incorporation of internal degrees of freedom is novel and sports some new features. The derivation of the QED vertex is also new. The treatment of the fermionic one-loop effective actions leads to a particularly economical derivation of chiral anomalies and the gauge anomaly freedom in the Standard Model, improving upon the state of the art in the literature. The appropriate worldline formalism developed thus sets the stage for Standard Model calculations beyond the tree and one-loop cases that incorporate Bern-Kosower type formulae for multiloop amplitudes, relevant for processes at the LHC.
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Terranova, Charissa N. "Systems and Automatisms: Jack Burnham, Stanley Cavell and the Evolution of a Neoliberal Aesthetic." Leonardo 47, no. 1 (February 2014): 56–62. http://dx.doi.org/10.1162/leon_a_00703.
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This paper compares Jack Burnham's “systems esthetics” and Stanley Cavell's “automatisms,” linking them by way of organizational and systems theories of the mid-20th century and the rise of the post-medium condition in art. Although rarely paired, curator and critic Burnham and philosopher Cavell offer similar ontologies of art in the post--World War II period. Their ideas freed artists from old constraints of formalism and medium specificity while foreshadowing the rise of an artistic atomization driven by technology and economics. If Burnham's concept of systems aesthetics is concerned with a sense of cybernetic connectivity based on a feedback loop between the artist, artwork, art community and monetizing power of the market, then Cavell's automatisms describe a condition of laissez-faire independence in which each artist must work entrepreneurially, wholly for and unto herself.
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David A. Granger. "The Science of Art: Aesthetic Formalism in John Dewey and Albert Barnes, Part 1." Journal of Aesthetic Education 52, no. 1 (2018): 55. http://dx.doi.org/10.5406/jaesteduc.52.1.0055.
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David A. Granger. "The Science of Art: Aesthetic Formalism in John Dewey and Albert Barnes, Part 2." Journal of Aesthetic Education 52, no. 2 (2018): 53. http://dx.doi.org/10.5406/jaesteduc.52.2.0053.
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Zapata Jaramillo, Carlos Mario, and Guillermo González Calderón. "A state-of-the-art review of interoperability amongst heterogeneous software systems." Ingeniería e Investigación 29, no. 2 (May 1, 2009): 42–47. http://dx.doi.org/10.15446/ing.investig.v29n2.15159.
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Information systems are sets of interacting elements aimed at supporting entrepreneurial or business activities; they cannot thus coexist in an isolated way but require their data to be shared so as to increase their productivity. Such systems’ interoperability is normally accomplished through markup standards, query languages and web services. The literature contains work related to software system interoperability; however, it presents some difficulties, such as the need for using the same platforms and different programming languages, the use of read only languages and the deficiencies in the formalism used for achieving it. This paper presents a critical review of the advances made regarding heterogeneous software systems’ interoperability.
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Sorini, Daniele, and John A. Peacock. "Extended Hernquist–Springel formalism for cosmic star formation." Monthly Notices of the Royal Astronomical Society 508, no. 4 (October 9, 2021): 5802–24. http://dx.doi.org/10.1093/mnras/stab2845.
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ABSTRACT We present a revised and extended version of the analytical model for cosmic star formation originally given by Hernquist and Springel in 2003. The key assumption of this formalism is that star formation proceeds from cold gas, at a rate that is limited by an internal consumption time-scale at early times, or by the rate of generation of gas via cooling at late times. These processes are analysed as a function of the mass of dark matter haloes and integrated over the halo population. We modify this approach in two main ways to make it more general: (1) halo collapse times are included explicitly, so that the behaviour is physically reasonable at late times; (2) allowance is made for a mass-dependent baryon fraction in haloes, which incorporates feedback effects. This model reproduces the main features of the observed baryonic Tully–Fisher relationship, and is consistent with observational estimates of the baryon mass fraction in the intergalactic medium. With minimal adjustment of parameters, our approach reproduces the observed history of cosmic star formation within a factor of 2 over the redshift range of 0 < z < 10. This level of agreement is comparable to that achieved by state-of-the-art cosmological simulations. Our simplified apparatus has pedagogical value in illuminating the results of such detailed calculations, and also serves as a means for rapid approximate exploration of non-standard cosmological models.
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Leddy, Thomas. "Clive Bell’s "Metaphysical Hypothesis" and Everyday Aesthetics." Washington University Review of Philosophy 1 (2021): 53–60. http://dx.doi.org/10.5840/wurop202117.
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Clive Bell’s Art, published in 1913, is widely seen as a founding document in contemporary aesthetics. Yet his formalism and his attendant definition of art as “significant form” is widely rejected in contemporary art discourse and in the philosophy of art. In this paper I argue for a reconsideration of his thought in connection with current discussions of “the aesthetics of everyday life.” Although some, notably Allen Carlson, have argued against application of Bell’s formalism to the aesthetics of everyday life, I claim that this is based on an interpretation of the concept that is overly narrow. First, Li Zehou offers an interpretation of “significant form” that allows in sedimented social meaning. Second, Bell himself offers a more complex theory of significant form by way of his “metaphysical hypothesis,” one that stresses perception of significant form outside the realm of art (for example in nature or in everyday life). Bell’s idea that the artist can perceive significant form in nature allows for significant form to not just be the surface-level formal properties of things. It stresses depth, although a different kind than the cognitive scientific depth Carlson wants. This is a depth that is consistent with the anti-dualism of Spinoza, Marx and Dewey. Reinterpreting Bell in this direction, we can say we are moved by certain relations of lines and colors because they direct our minds to the hidden aspect of things, the spiritual side of the material world referred to by Spinoza and developed by Dewey in his concept of experience. Bell hardly “reduces the everyday to a shadow of itself,” as Carlson puts it, since the everyday, as experienced by the artist or the aesthetically astute observer, has, or potentially has, deep meaning. If we reject Bell’s dualism and his downgrading of sensuous experience, we can rework his idea of pure form to refer to an aspect of things detached, yes, from practical use, but not from particularity or sedimented meaning, not purified of all associations.
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Thwala, Jozi Joseph. "An Exploratory Study of Personification and Hyperbole in Selected Siswati Poetry." IRA International Journal of Education and Multidisciplinary Studies 15, no. 5 (November 2, 2019): 160. http://dx.doi.org/10.21013/jems.v15.n5.p1.
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This is an exploratory study of two selected figure of speech: personification and hyperbole. They are, however, selected as key rhetoric devices that depict the poetic language and style. They are central figures of speech that are significant in the poetic sentences and semantic content. This study is guided by Formalism approach based on poetic sounds, syntactic and semantic construction. They are used to achieve a special meaning or effect in all modes of discourse. They are integral to the functioning of language in a connotative manner. These figures of speech extend the meaning of words or phrases beyond the normal way as a result of mental association. Their functions are for the emphasis on ironic effect and animation. The formalist approach is adopted because it helps the readers to analyse the writer’s technical prowess and craft skills. It believes that in any work of art such as poetry, the poetic sometimes deliberately defamiliarizes the raw material and objects of familiar actions and words that he uses to build up his poem.
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Malagò, Perla, Florian Slanovc, Stefan Herzog, Stefano Lumetti, Thomas Schaden, Andrea Pellegrinetti, Mohssen Moridi, Claas Abert, Dieter Suess, and Michael Ortner. "Magnetic Position System Design Method Applied to Three-Axis Joystick Motion Tracking." Sensors 20, no. 23 (December 1, 2020): 6873. http://dx.doi.org/10.3390/s20236873.
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This manuscript discusses the difficulties with magnetic position and orientation (MPO) system design and proposes a general method for finding optimal layouts. The formalism introduces a system quality measure through state separation and reduces the question “How to design an MPO system?” to a global optimization problem. The latter is then solved by combining differential evolution algorithms with magnet shape variation based on analytical computations of the field. The proposed formalism is then applied to study possible realizations of continuous three-axis joystick motion tracking, realized with just a single magnet and a single 3D magnetic field sensor. The computations show that this is possible when a specific design condition is fulfilled and that large state separations as high as 1mT/∘ can be achieved under realistic conditions. Finally, a comparison to state-of-the-art design methods is drawn, computation accuracy is reviewed critically, and an experimental validation is presented.