Journal articles on the topic 'Realism History 20th century'
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1
Ekaterina, Grantseva. "Colombia of the 20th century: the history of the country in the history of cinema." Latin-American Historical Almanac 29 (March 26, 2021): 196–215. http://dx.doi.org/10.32608/2305-8773-2021-29-1-196-215.
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Colombian cinema, the peculiarities of its development and problems, cannot be separated from the tragic and painful pages of the history of Colombia in the 20th century. In the panorama of the national cinematography’s of Latin America, the cinema of Colombia has long been on the side lines, significantly yielding to Argentina and Mexico, and also constantly experiencing pressure on the film market from Hollywood. Unlike Colombian literature, which conquered the world with "magical realism", the cinema of this country gravitates towards social realism. He is characterized by a bold approach to the most difficult and painful topics, a constant interest in the realities of the country's life. In this regard, when analysing Colombian cinematography, the most productive is the expansion of the boundaries of research in the field of historical memory, an appeal to the problem of violence and overcoming the trauma of the past.
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Shahab, Ali, Faruk Faruk, and Arif Rokhman. "French Literature: From Realism to Magical Realism." Jurnal Poetika 8, no. 2 (December 26, 2020): 170. http://dx.doi.org/10.22146/poetika.v8i2.58651.
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The purpose of the article is to explore the evolution of French literature between the late 19th century and early 21st century. Although French literature has long been dominated by rationalistic ways of thinking, based on the thoughts of René Descartes and John Locke, authors have used different means to express their perceptions of society. The novel Madame Bovary (1856), including its depiction of conjugal relationships, can be considered to have pioneered realism in French literature. During the Second World War, existentialism and absurdism appeared as new ways of examining not only the relationship among humans, but also between humans and God. In the late 20th century, magical realism emerged as a new literary stream that explicitly recognized the irrationality of human thinking. This article finds that the rationality of realism was necessary for magical realism to be accepted; in this rationality, although works of magical realism were irrational, they had to be recognized as fine examples of French literature that embodied such revolutionary ideas as liberté (liberty), égalité (equality), and fraternité (fraternity). To study this phenomenon, we examine the history of french literature by applying archeological method in order to understand the world views of the authors and how they change over time.
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Lv, Yuan. "Analysis of the Inevitable Fate of Tess in Tess of the D’Urbervilles." BCP Social Sciences & Humanities 17 (May 5, 2022): 46–49. http://dx.doi.org/10.54691/bcpssh.v17i.618.
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Thomas Hardy is an outstanding critical realism writer in Britain in the late 19th century and the early 20th century, occupying an extremely important position in the history of British literature. His novels are often full of rich tragic color, containing an extremely rich progressive ideas of The Times.
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Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization." Observatory of Culture 18, no. 1 (May 24, 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.
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This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.
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Tihanov, Galin. "Revisiting Lukács’ theory of realism." Thesis Eleven 159, no. 1 (July 21, 2020): 57–63. http://dx.doi.org/10.1177/0725513620945557.
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This paper focuses on Georg Lukács, for it is in his work, and the attendant debates and disagreements, that an entire constellation of questions around Realism is first compellingly formulated. The purpose of the paper is to revisit Lukács’ theory of realism as a response to a host of mainstream currents shaping the landscape of Continental philosophy in the first three decades of the 20th century. Particular attention is paid to the problem of form and truth at the core of Lukács’ theory of realism.
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BEHR, HARTMUT, and AMELIA HEATH. "Misreading in IR theory and ideology critique: Morgenthau, Waltz and neo-realism." Review of International Studies 35, no. 2 (April 2009): 327–49. http://dx.doi.org/10.1017/s0260210509008547.
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AbstractThis article is interested in the hegemony which neo-realism accomplished during the second half of the 20th century in both the academic field and policy making of I/international R/relations. Our examination posits the argument that neo-realism can be seen as an ideology rather than a theory of international politics. While this view can connect to individual voices from the 1960s as well as to an emerging body of critical literature since the 1990s, we propose an ideology critique to explore this argument. To unfold this approach we will elaborate some neo-realist misreadings which we think manipulate intellectual history (among others, the writings of Hans J. Morgenthau) and represent an ideological impact intrinsic in the development of IR. An ideology critical approach – which is inherent in Morgenthau's thoughts on international theory themselves and thus helps to reveal profound discrepancies at the heart of an ostensible ‘realist’-neo-realist ‘unity’ – has, firstly, to problematise those discrepancies and, secondly, to focus on hegemonic strategies applied to ideologise and mainstream the academic field. The first part of such an agenda is what we present here; the second part is what we outline methodologically and suggest for further studies in, and of, IR.
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Pechenkin, Alexander. "The Ensemble Interpretation of Quantum Mechanics and Scientific Realism." Acta Baltica Historiae et Philosophiae Scientiarum 9, no. 1 (May 27, 2021): 5–17. http://dx.doi.org/10.11590/abhps.2021.1.01.
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The article takes under consideration three versions of the ensemble (statistical) interpretation of quantum mechanics and discusses the interconnection of these interpretations with the philosophy of science. To emphasize the specifics of the problem of interpretation of quantum mechanics in the USSR, the Marxist ideology is taken into account. The present paper continues the author’s previous analysis of ensemble interpretations which emerged in the USA and USSR in the first half of the 20th century. The author emphasizes that the ensemble approach turned out to be a dead end for the development of the interpretation of quantum mechanics in Russia. The article also argues that in Soviet Russia, the classical Copenhagen (standard) approach to quantum mechanics was used. The Copenhagen approach was developed by Lev Landau in 1919–1931 and became the basis of the Landau-Lifshitz famous course on quantum mechanics, one of the classics of twentieth-century physics literature (the first edition was published in 1947). Although Vladimir A. Fock’s approach to the interpretation of quantum mechanics differs from the standard presentation by Lev Landau and Evgeny Lifshitz, Fock put forward a very important principle that complementarity is a “firmly established law of nature”. The fundamental writings of Lev Landau, Vladimir Fock and Igor Tamm, the authors of the mid-twentieth century, did a lot to defend the standard point of view such as the popular interpretations by Landau and Lifshitz. This approach can be traced back to Landau’s early writings and to Fock’s criticism of the ensemble approach.
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Shchukina, M. A. "Socialist Realism VS Religion." Bulletin of Irkutsk State University. Series Political Science and Religion Studies 42 (2022): 128–34. http://dx.doi.org/10.26516/2073-3380.2022.42.128.
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The phenomenon of Soviet literature is a controversial chapter in the Russian history of the 20th century which was dominated by socialist ideology and where relations between the authors and the authorities were regulated by special rules. Thus, the literature of the Soviet period was characterized by its driving ambition to realize its place in time and space. Now experts agree that it integrated various sets of values. Soviet literature was used for educational, ideological, political and other purposes. This article explores the relation between ideology, religion and art using the example of socialist realism literature. The fact that the topic of religion fell by the wayside in the age of scientific atheism and socialist realism is of great interest for religion studies. The author aims to define the role of religion in the Soviet ideological and cultural process. This article examines various instruments of socialist realism, verifies dependence of literature on the society and value systems of the time, as well as analyzes relevant articles of distinguished scholars in culture and literature studies. The main result of this research is proving the existence of psychological component in socialist realism, alongside with the ideological and artistic ones.
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Mishchenko, Iryna. "Gennady Gorbaty's painting: crypto-realism as overcoming imitation of reality." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 176–80. http://dx.doi.org/10.32461/2226-0285.1.2021.238616.
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The purpose of this article: analysis of Gennady Gorbaty's painting, in the work of which the transition from a realistic reflection of the world to the art of postmodernism, characteristic of Ukrainian art of the late 20th century, was reflected in a peculiar way. The methodology is the application of art analysis, methods of comparison and generalization, biographical and historical approach. The scientific novelty lies in the discovery of the peculiarities of the transformation of the traditional for Soviet art reflection of reality into visual practices of the late 20th – early 21st centuries on the example of the work of a particular artist. Conclusions. Gennady Gorbaty studied at the Kyiv State Art Institute (1981–1987), so his formation was significantly influenced by the traditional school of painting with a mostly realistic reproduction of the world around it and a purely academic hierarchy of genres. The socio-political situation in Ukraine in the late 1980s and early 1990s not only contributed to the liberation from such a view of art, but also intensified attention to the development of both contemporary world art and modernist manifestations that existed in the culture of the first half of the 20th century. At the same time, many artists became interested in the history of Ukraine, especially in its tragic or dramatic pages, which led to the emergence of numerous compositions with a complex system of symbols and associations, elements borrowed from the paintings of past eras. In the work of Gennady Gorbaty can be consistently traced a variety of influences, which demonstrate his search for his own plastic language, the gradual departure from the conditionally realistic art of the Soviet era and the formation of a peculiar manner of performance. This was facilitated by an acquaintance with Western European art of the late 20th century, as the artist has been working in Germany since the early 1990s. It was one of the German art critics G. Beck who defined the stylistics of G. Gorbaty's works as crypto-realism, in which the emotional beginning, reflected in the color scheme and expression of picturesque textures, is combined with supposedly hidden motives of visible reality. In the works of this author, the blurring of genres, the synthesis in one picture of elements of different artistic epochs – from the Middle Ages to postmodernism – is also noticeable.
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Orzełek, Ariel. "The journalistic reaction to the first edition of The History of Stupidity in Poland. The historiographic pamphlets by Aleksander Bocheński." Przegląd Nauk Historycznych 17, no. 3 (December 13, 2018): 205–25. http://dx.doi.org/10.18778/1644-857x.17.03.08.
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The History of Stupidity in Poland. The historiographic pamphlets [Dzieje głupoty w Polsce. Pamflety dziejopisarskie] was the most important publication by Aleksander Bocheński. The book was also one of the most representative reflections on the post-war trend of political realism in Poland. The journalistic reaction to the first edition of the book in the forties of the 20th century proved that the theses included in it were highly unpopular. The author’s criticism of insurrection trends in Polish politics met with opposition from Marxists as well as non-party intellectuals, both at home and abroad. Although motives of Bocheński’s concepts were usually understood, they were rejected as they served communists, were contrary to Marxist doctrine or had no moral foundations. Those opinions constitute an important contribution to the views of Polish intelligentsia on political realism at the beginnings of the Polish People’s Republic.
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Akkan Güngör, Fatma. "Realizmin Tek Perspektif Olabilirliğinin Sunumu: AUKUS Örneği." International Journal of Social Sciences 6, no. 26 (October 25, 2022): 438–53. http://dx.doi.org/10.52096/usbd.6.26.28.
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Realism is handled in the reality of explaining, understanding and interpreting of international relations. Realist theory needs or will need new concepts together with changes of international system and in the process called as globalisation. However, because of the fact that this situation does not require a new theory as an assumption, it is focused on the level of implementation in practice. While a war like the World War I-II did not take place in the conditions of the second half of the 20th century or that there was no war as before in the 21st century does not mean that there was no conflict or this situation cannot be seen as a success for states are clear, should explaining, trying to understand and interpreting international relations be the aim of international relations discipline? And whether it should be accepted that this effort can be made from a realistic perspective will be tried to be understood through the case of AUKUS. Keywords: Theory, International Relations Discipline, AUKUS.
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Novikova, Irina. "J. K. Paasikivi and the Formation of Finland’s Independence." ISTORIYA 12, no. 7 (105) (2021): 0. http://dx.doi.org/10.18254/s207987840016483-0.
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J. K. Paasikivi belongs to the most famous Finnish political figures, the prime minister and the seventh president of Finland, the architect of its foreign policy in the post-war period. His influence on the political, economic and foreign policy spheres of Finland has been extremely noticeable for more than half a century. This article examines the least studied period of his political activity — the formation of Paasikivi as a politician, diplomat and statesman from the beginning of the 20th century until the signing of the Tartu Peace Treaty of 1920 between the RSFSR and the Republic of Finland. In the first twenty years of the 20th century, Paasikivi traveled a difficult, dramatic path from a staunch supporter of cooperation with the Russian Empire to an adherent of the idea of independence, then cooperation with imperial Germany, and again, recognizing the important fact that the best way to ensure Finland's national interests is to compromise with Russia in matters of its strategic needs. However, the sharp turns in Paasikivi's political fate were by no means a tribute to the fashion or the conjuncture. He was and remained a realist and pragmatist who always took into account a complex of factors: geographical, historical, strategic, foreign policy, economic in the decision-making process. Paasikivi's political heritage in modern Finland are realism in foreign policy, maintaining good relations with neighboring countries, first of all, with Russia, foreign policy aimed at the future, its predictability and long-term, in domestic policy, the desire to awaken interest in foreign policy issues.
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Brantly, Susan. "Nordic Modernism for Beginners." Humanities 7, no. 4 (September 20, 2018): 90. http://dx.doi.org/10.3390/h7040090.
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This essay proposes a narrative of the Nordic countries’ relationship to modernism and other major literary trends of the late 19th and 20th centuries, that situates them in conjunction with the rest of Europe. “Masterpieces of Scandinavian Literature: the 20th Century” is a course that has been taught to American college students without expertise in literature or Scandinavia for three decades. This article describes the content and methodologies of the course and how Nordic modernisms are explained to this particular audience of beginners. Simple definitions of modernism and other related literary movements are provided. By focusing on this unified literary historical narrative and highlighting the pioneers of Scandinavian literature, the Nordic countries are presented as solid participants in European literary and cultural history. Further, the social realism of the Modern Breakthrough emerges as one of the Nordic countries distinct contributions to world literature.
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Petrulis, Vaidas. "STYLISTIC PRECONDITIONS FOR EVALUATING SOVIET ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 30, no. 3 (June 30, 2006): 134–42. http://dx.doi.org/10.3846/13921630.2006.10697074.
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The paper analyses the Lithuanian architecture of the soviet period through the prism of stylistic development and history of architectural ideas. The main task of the work is to determine the heritage values of the soviet period from the point of view of architectural history. Before going into deeper analysis of separate stylistic aspects some key problems of the soviet time heritage evaluation are discussed. Particular attention is given to the need of separation of the soviet time architectural history from the political history as well as to the problem of integration of the soviet heritage into contemporary city life. Three main approaches on the architecture of the soviet period are pointed out: socialist realism, soviet industrial modernism and plurality of stylistic attitudes during the last decades of the soviet period. The paper follows an assumption that some characteristic buildings of each architectural outlook should be saved in order to have an example of authentic way of development in the Lithuanian architecture during the 20th century.
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Mielhorski, Robert. "The Topos of Childhood in Modern Poetry (1939–1989)." Tematy i Konteksty specjalny 1(2020) (2020): 364–94. http://dx.doi.org/10.15584/tik.spec.eng.2020.19.
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The paper problematises the literary image of childhood in poetry in relation to external historical and socio-political events. The material analysed covers Polish poetry from 1939 – 1989 (a clearly distinguished segment of the historical-literary process). The choice and ordering of the case studies results from the application of two research paradigms: (i) the paradigm concerned with autobiographical motifs, which refers to such topics of 20th century writings as exile (poetry of return by Łobodowski, Wierzyński etc.) immigration (nostalgic [pansentimentalism] and emotionally neutral motifs), Holocaust (motifs of fear, division between now and then, the role of imagination) and (ii) a generation-related paradigm, which allows us to follow the topos of childhood viewed from the perspective of history according to the order of generations entering Polish literature (from the 1920 Generation to the New Wave Groups) up to the succession of consecutive literary trends in the second half of the 20th century (e.g. soc-realism and soc-plans). Poetic texts concerning childhood in the light of history are viewed as records of “rites of passage” operating from the child’s phase of the pre-personalisation area – the child’s sense of being one with the world, experiencing the harmony of being – to the period of personalisation – when history leaves its mark on this period; characterised by the sense of one’s distinctiveness from reality, individual alienation, the need for rationalisation of one’s own existence and the existence of the surrounding reality. The role of history is to lead the child from the pre-personalistic period to the experience of personalisation.
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Rhodes, Chip. "Mass Cultural Populism and the Hollywood Novel: The Case of Nathanael West's The Day of the Locust." Prospects 24 (October 1999): 589–604. http://dx.doi.org/10.1017/s0361233300000491.
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The short history of the Hollywood novel provides a useful index of the ways that 20th-century U.S. literature has imagined the relation of sign systems to the external reality with which they would coincide. Very early Hollywood novels like Harry Leon Wilson's Merton of the Movies (1922) found their critiques of the nascent film industry on its fictiveness and conventionality, indicting Hollywood for the falsification of reality. Literature in general and the Hollywood novel in particular would serve, by implication, to set the record straight. As modernism in its many permutations supplanted realism, however, these straightforward epistemological distinctions became increasingly blurry. Informed by the recognition of the materiality of language, modernist fiction would have a lot harder time leveling its critiques.
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Stykalin, Aleksander. "Towards the History of Perception of György Lukács’ Work in the USSR on the Base of Correspondence from the Late 1940s to the 1960s." ISTORIYA 13, no. 4 (114) (2022): 0. http://dx.doi.org/10.18254/s207987840021073-9.
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György Lukács (1885—1971), who after a long spiritual quest came to Marxism in the late 1910s, left his mark on the history of European thought in the 20th century as a major philosopher and literary critic, whose most important works of different decades (“History and class consciousness”, “Young Hegel”, “The originality of the aesthetic”, etc.) caused a wide international response. This publication focuses on the lifetime perception of Lukacs’ work in the USSR in the mirror of his correspondence from the second half of the 1940s to the end of the 1960s. Although Lukacs returned to his native Budapest in 1945, he was well remembered in the USSR as a person who spent a long time in Soviet emigration (1930—1931, 1933—1945) and actively participated in literary and philosophical life. The discussion of the late 1930s, initiated by his work “On the History of Realism”, was especially memorable for the Soviet humanitarian intelligentsia.
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Ulberte, Līga. "THE UNKNOWN HISTORY : BERNHARD REICH ’ S MANUSCRIPT ABOUT VALMIERA THEATRE." Culture Crossroads 19 (October 11, 2022): 68–77. http://dx.doi.org/10.55877/cc.vol19.41.
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Latvian theatre director Anna (Asja) Lācis and her life partner, German theatre director and theoretician Bernhard Reich, began their professional careers in Latvia and Germany in the 1920s during the period of European modernism. During the second half of the 20th century, the paths of both their private and professional relationships lead them to the Soviet Union – a place whose ideological system and theatre they remained intertwined with for the rest of their lives. Both artists were then directly affected by Stalinist repressions. In 1948, Anna Lācis returned to Latvia and began working at Valmiera Drama Theatre. In 1951, Bernhard Reich also moved to Latvia, which remained his place of residence until his death. Both internationally recognized artists were buried at the Rainis Cemetery in Riga. This article provides insight into Bernhard Reich’s unpublished manuscript titled Valmieras teātris (Valmiera Theatre), which reveals the left-leaning western artist’s perspective of the history of Valmiera Theatre in the 1950s and the 1960s as well as the art of Socialist Realism that was both surprising and, at the time, unheard of in the history of Latvian theatre.
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Hutnyk, John. "The corporate menagerie." Thesis Eleven 160, no. 1 (August 12, 2020): 121–28. http://dx.doi.org/10.1177/0725513620949009.
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This paper offers a typology of university management roles in the age of permanent austerity. The repackaging of every function within the university administration as a cost centre – meaning of course a potential profit centre – has long been seen as an unsustainable market model. Yet perversely it persists, and we would do well to name the hyperbolic functionaries of this administered institutional reconstruction, in a place where a humourless credentialism prevails. The paper revives the work, and temperament, of the early 20th-century sociologist Thorstein Bunde Veblen as a heuristic aid. With Veblen, the protocols of commercial imperative in the state education sector masquerade as education as a social good while the ‘university’ itself is skewered with the tragic realism of forms.
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Spadijer, Sonja. "La domesticité, phénomène socioculturel, représentée dans les œuvres Zoune chez sa ninnaine de Justin Lhérisson et Rêves amers de Maryse Condé." French Cultural Studies 33, no. 1 (February 2022): 3–18. http://dx.doi.org/10.1177/09571558211044965.
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That childhood should be everywhere at home whatever the circumstances, has been implored by poets. Their powerful voices call on the international community to mobilize to protect the rights of the child. However, there are unfair practices; child domestic work is one of them. These children are called ‘domestic children’, ‘service children’ and les ‘restavèk’. Denounced by humanitarian institutions, child domestic work unfortunately still exists today. This issue has been taken up by writers, thus becoming one of the key themes of literature in French and Creole languages. Our aim is to recall the major role that this literature has played, for more than a century, in raising the awareness of a very large readership on the harmful effects of this practice on children and adolescents. This study will focus on two authors and their works talking about this phenomenon in the context of Haiti, Justin Lhérisson (late 19th and early 20th centuries) with his lodyans Zoune chez sa ninnaine (1906) and Maryse Condé (20th and 21st centuries) with her novel Rêves amers (1987), both closely tied to Haitian culture. While using different literary frameworks, either Creolity in Maryse Condé or Social Realism in Justin Lhérisson, they chose in their fictions to tell about the condition of a child placed in domestic service. Dealing with this phenomenon is also talking about the quest for identity in Haitian literature, which at the beginning a literature of imitation. The expression of J. Lhérisson proves that this literature has become autonomous and that it represents its culture and its society. Because of the originality and the impact exerted, his work deserves to be remembered as part of the universal cultural heritage. M. Condé pleads for freedom of expression, literary cosmopolitanism, universal values, refusing any classification within the borders of a single country or a single language. Thus, the Haitian social realism represented in the expression of these two authors of the Caribbean space brings Creole literature closer to word literature.
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Hiep, Tran Xuan, Nguyen Tuan Binh, Tran Hoang Long, Duong Quang Tra, and Nguyen Quang Son. "India - Myanmar Relations (1948 - 1992): From “Idealism” to “Realism” in India’s Foreign Policy towards Myanmar." Academic Journal of Interdisciplinary Studies 10, no. 3 (May 10, 2021): 168. http://dx.doi.org/10.36941/ajis-2021-0073.
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India and Myanmar are two neighboring countries that share the border of nearly 1.500km and have the relationship on history, politics, culture, ethnic... from over 2.000 years to present. India officially established diplomatic relations with Myanmar, just after this Southeast Asian country gained independence (1948). From 1948 to 1992, the bilateral relationship was influenced by India’s foreign policy towards Myanmar, especially the impact of “idealism” and “realism” in India’s policy. “Idealism” succeeded in India’s foreign policy towards Myanmar from 1948 to 1962; however, it was not effective in the period 1962 - 1988, which made India’s position severely decrease, contrary to the rise of China’s position in Myanmar. For this reason, India must innovate the foreign thought, moving from “idealism” to “realism”, which have more pragmatic quality to Myanmar in the years 1988 - 1992 when the international and regional contexts have many changes. On the basis of the reference sources, this research’s aim focuses on analyzing the foreign policy adjustment of India, especially this study will focus on the issue of India - Myanmar relationship (1948 - 1992) was dominated by the “idealism” and “realism” in the planning of foreign policy of India towards Myanmar. The scope of this research is the relationship between India and Myanmar from 1948 to 1992 under the influence of “idealism” and “realism” in India’s foreign policy. From the early 90s of the 20th century, India’s foreign policy towards Myanmar has been more realistic than in the previous period, especially since 1992, when India implemented its new foreign policy, the Look East Policy.
Received: 4 February 2021 / Accepted: 9 April 2021 / Published: 10 May 2021
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Ziyayeva, Xushnudabonu Ilhomjon Qizi. "Hypertextuality Of Tolstoy's Prose." American Journal of Social Science and Education Innovations 03, no. 06 (June 20, 2021): 64–68. http://dx.doi.org/10.37547/tajssei/volume03issue06-11.
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This article highlights the intersection of realism and postmodernism of the 20th century and the hypertextuality of Tatiana Tolstoy's prose. The purpose of the article is to study the poetics of mythological prose, methods and forms of mythologization in modern Russian prose. The scientific novelty lies in the fact that this article seeks to consistently explore not only the myth, but also the mechanisms of mythologization and demythologization in Tolstoy's prose, as well as to identify the axiological and ontological features of mythology in the writer's texts. The theoretical significance of the article consists in the further development of theoretical knowledge about the categories of mythopoetics, the deepening of ideas about the mythologism of literature and the genre features of the mythological novel. The practical significance of the article lies in the fact that its materials can be used in lecture courses and seminars on the history of modern literature, the theory of myth, as well as in the works on T. N. Tolstoy.
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Sovtic, Nemanja. "Arti Musices Pannoniarum - the compositional practice in Vojvodina in the social-historical and musico-historical context." Muzikologija, no. 33 (2022): 153–71. http://dx.doi.org/10.2298/muz2233153s.
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In this paper, the territorial frameworks are set with the aim of forming a regional histor?ical synthesis dedicated to the creation of art music in Vojvodina, a synthesis that differs from those offered in previous music historiographies. It can be said that the composers who greatly contributed to the development of the musical life of the Vojvodina communities in the interwar period have made modest contributions to the ?local type? musical modernism. In the second half of the 20th century, they were involved in determining the place of ?new music? within modernism and realism in the Cold War period. The Serbian National Theatre, the Association of Composers of Vojvodina and the Academy of Arts in Novi Sad gave support to compositional practice in Vojvodina after the Second World War.
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Vasylenko, Vadym. "“Seignior Nicolo” by Yurii Kosach and Gogol text in ukrainian literature of the 20th century." Слово і Час, no. 1 (February 2, 2021): 87–104. http://dx.doi.org/10.33608/0236-1477.2021.01.87-104.
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In the context of the Ukrainian Gogol discourse of the 20th century, the paper analyzes fragments from the unfinished Yurii Kosach’s novel “Seignior Nicolo”, which deals with the history of Mykola Gogol. The researcher focuses on the peculiarities of Kosach’s understanding of Gogol and the worldview analogies of the two writers.
The concept of symbolic autobiography is understood as a manifestation of the author’s self through the image and history of the other. Presenting the Roman episode in Gogol’s biography, Yurii Kosach tells his own symbolic story, and this relationship between fictitious and real stories functions as a certain way of the author’s symbolic self-representation in his text and through the text.
The incomplete Yuri Kosach’s novel about Gogol is considered in the context of ideological discussions about the national and cultural identity of the writer, as a component of Gogol discourse in Ukrainian literature of the 20th century. The problem of Gogol’s duality, understood in ideological and psychological aspects, manifests a worldview split of Yurii Kosach himself, his own drama. Yuri Kosach’s re-thinking of Gogol’s figure must have been an attempt of destroying two main ideological myths: the Russian-imperial, based on the Soviet, socialist-realist Gogol’s cult, and the colonial one, rooted in the Ukrainian populist tradition.
In addition, the paper pays attention to the sources of Kosach’s novel and clarifies the historical and psychological contexts of its creation, as well as its inter- and midtextual relations, both with Kosach’s works and Gogol discourse as a whole. It is argued that in the history of Gogol the writer considered the problem of cultural colonialism, both in the political and psychological aspects, in particular the problem of Gogol’s sexuality, ‘fear of sex’, which is associated with colonial subordination and the loss of masculinity.
The main personal manifestation of Gogol in the novel by Kosach is a migrant, i. e. a man without ground, an artist without a motherland. The history of Gogol in Rome is examined through the relation of “Seignior Nicolo” to Gogol’s “Rome”, a comparison of the Roman text in Gogol’s and Kosach’s works
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Charbel, Felipe. "The New Faces of the Historical Novel." História da Historiografia: International Journal of Theory and History of Historiography 13, no. 32 (April 12, 2020): 19–46. http://dx.doi.org/10.15848/hh.v13i32.1530.
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This article analyzes the problem of referentiality in the historical novel, based on a comparison between its classic and contemporary forms. The first section addresses the “mixture of history and invention” that, following Alessandro Manzoni, was the foremost characteristic of the realist historical novel. The next section discusses how the meta-historical novel of the second half of the 20th century - for example, Disgrace (J. M. Coetzee) and El entenado (Juan José Saer)-eclipsed the problem of referentiality by assuming that the historical novel should operate by its own procedures, and not those of history. The following sections discuss the referential turn in 21st century literary narratives, focusing on three novels: El material humano, by Rodrigo Rey Rosa; K. Relato de uma busca, by Bernardo Kucinski, and Jan Karski, by Yannick Haenel. The article concludes that the inversion of these two poles—from non-referentiality to the predominance of referentiality—is an unexpected facet of the elasticity of the concept (and practice) of fiction, which by denying itself ultimately enriches itself.
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Kodres, Krista. "Toward a New Concept of Progressive Art: Art History in the Service of Modernisation in the Late Socialist Period. An Estonian Case." Artium Quaestiones, no. 30 (December 20, 2019): 211–23. http://dx.doi.org/10.14746/aq.2019.30.10.
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The paper deals with renewal of socialist art history in the Post-Stalinist period in Soviet Union. The modernisation of art history is discussed based on the example of the Estonian Soviet Socialist Republic (Estonian SSR), where art historians were forced to accept the Soviets’ centrally constructed Marxist-Leninist aesthetic and approach to art and art history. In the art context, the idea of progressiveness began to be reconsidered. In previous discourse, progress was linked with the “realist” artistic method that sprang from a progressive social order. Now, however, art historians found new arguments for accepting different cultures of form, both historical and contemporary, and often these arguments were “discovered” in Marxism itself. As a result, from the middle of 1950’s Soviet art historians fell into two camps in interpreting Realism: the dogmatic and revisionist, and the latter was embraced in Estonia. In 1967, a work was published by the accomplished artist Ott Kangilaski and his nephew, the art historian Jaak Kangilaski: the Kunsti kukeaabits – Basic Art Primer – subtitled “Fundamental Knowledge of Art and Art History.” In its 200 pages, Jaak Kangilaski’s Primer laid out the art history of the world. Kangilaski also chimed in, publishing an article in 1965 entitled “Disputes in Marxist Aesthetics” in the leading Estonian SSR literary journal Looming (Creation). In this paper the Art Primer is under scrutiny and the deviations and shifts in Kangilaski’s approach from the existing socialist art history canon are introduced. For Kangilaski the defining element of art was not the economic base but the “Zeitgeist,” the spirit of the era, which, as he wrote, “does not mean anything mysterious or supernatural but is simply the sum of the social views that objectively existed and exist in each phase of the development of humankind.” Thus, he openly united the “hostile classes” of the social formations and laid a foundation for the rise of common art characteristics, denoted by the term “style.” As is evidenced by various passages in the text, art transforms pursuant to the “will-to-art” (Kunstwollen) characteristic of the entire human society. Thus, under conditions of a fragile discursive pluralism in Soviet Union, quite symbolic concepts and values from formalist Western art history were “smuggled in”: concepts and values that the professional reader certainly recognised, although no names of “bourgeois” authors were mentioned. Kangilaski relied on assistance in interpretation from two grand masters of the Vienna school of art history: Alois Riegl’s term Kunstwollen and the Zeitgeist concept from Max Dvořák (Zeitgeist, Geistesgeschichte). In particular, the declaration of art’s linear, teleological “self-development” can be considered to be inspiration from the two. But Kangilaski’s reading list obviously also included Principles of Art History by Heinrich Wölfflin, who was declared an exemplary formalist art historian in earlier official Soviet historiography. Thaw-era discursive cocktail in art historiography sometimes led Kangilaski to logical contradictions. In spite of it, the Primer was an attempt to modernise the Stalinist approach to art history. In the Primer, the litmus test of the engagement with change was the new narrative of 20th century art history and the illustrative material that depicted “formalist bourgeois” artworks; 150 of the 279 plates are reproductions of Modernist avant-garde works from the early 20th century on. Put into the wider context, one can claim that art history writing in the Estonian SSR was deeply engaged with the ambivalent aims of Late Socialist Soviet politics, politics that was feared and despised but that, beginning in the late 1950s, nevertheless had shown the desire to move on and change.
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Buyak, Halyna. "THE FORMATION OF BOHDAN KHAVARIVSKYI AS PERSONALITY, SOCIAL, POLITICAL, CULTURAL AND EDUCATIONAL FIGURE (THE SECOND HALF OF THE 20TH CENTURY – THE BEGINNING OF THE 21ST CENTURY)." Scientific Herald of Uzhhorod University. Series: History, no. 2 (47) (December 20, 2022): 67–74. http://dx.doi.org/10.24144/2523-4498.2(47).2022.266521.
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This article attempts to investigate the development of Bohdan Khavarivskyi as a philologist, teacher, archivist, local historian, artist, personality, public-political and cultural-educational figure in the second half of the 20th century and the beginning of the 21st century. This significant list of his interests testifies to this person's uniqueness, comprehensiveness, and talent. Based on the analysis of archival materials, it was found that the formation of B. Khavarivskyi took place in the traditions of family upbringing, his parents and teachers who encouraged him to draw, write poems, recite, and sing was an example to follow in childhood. Bohdan-Roman was a comprehensively gifted individual who could realize his talents later in life. His activities were traced during his studies at the philological faculty of Chernivtsi State University. He attended the literary studio named after Stepan Budny, designed and edited its handwritten newspapers "Sunny Clarinets" and "Vesely Ostap," and gave speeches at scientific conferences. Acquaintance with famous Ukrainian science and culture figures from Chernivtsi contributed to his formation as a mature personality with an active life position and deep national convictions. It has been proven that the beginnings of his pedagogical work were connected to his teaching activities in a rural school in the Ternopil region. Over time, Bohdan Khavarivskyi worked as an educator in the dormitory of Ternopil Technical School № 2. Also, as a teacher at Ternopil Special Vocational Technical School № 3. It was found that the center of the future writer's organization, a professional center of artists, free from the restrictions of the standards of socialist realism, was formed in this educational institution. Subsequently, he was a senior researcher at the Ternopil Regional State Archives, a teacher at the Ternopil State Pedagogical Institute, the head of the public education department of the Ternopil Regional Executive Committee, the director of the State Archives of the Ternopil Region. It is known that he thoroughly mastered the subjects he taught. He practiced original modern forms and teaching methods, involved pupils and students in Ukrainian and world cultural achievements, and worked in close contact with the Ternopil Art Gallery, the Ternopil Museum of Local History, and the creative organizations of the city. He organized fine art weeks and involved artists from Ternopil and Lviv in exhibitions of paintings and graphics.
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Gultyaeva, Galina S. "CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 127–38. http://dx.doi.org/10.17223/22220836/41/10.
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Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.
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Skliarenko, Halyna. "Interpretation Peculiarities of the Impressionistic Trends in Ukrainian Ar." Folk art and ethnology, no. 1 (February 28, 2022): 30–45. http://dx.doi.org/10.15407/nte2022.01.030.
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The article is dedicated to the interpretation peculiarities of the impressionistic trends in Ukrainian art. Impressionism as the first modernist style has a huge impact on world art, been marked in it both by new purely formal, plastic and also world-view features. Ukrainian art hasn’t also avoided it and attracts its experience to the search for a new artistic language of the turning point in the artistic development of the period of the late 19th – early 20th century in its own way. Although impressionism hasn’t formed a definite exact trend in Ukrainian art, its ideas, in particular, the individualization of artistic vision, subjectivity of perception, colour expressiveness mark a new stage of its development and keep their relevance for a long time. The sources of impressionistic influences in Ukrainian painting at the turn of the 19th – early 20th century, the contradictions of its interpretation by critics and artists, the peculiarities of impressionism significance in the works of avant-garde artists (D. Burliuk, O. Bohomazov, K. Malevich) are considered in the article. A great importance of a large exhibition Impressionism in Ukraine in the phenomenon representation is emphasized. The event has been held on December, 2009 – March, 2010 at the National Museum of Modern Art in Kyiv. A range of impressionistic interpretations in Ukrainian painting of the late 19th – early 20th century is submitted for the first time. An attitude to the trend during the next periods of the history of Ukrainian art, namely in the post-revolutionary 1920s, 1930s – 1950s, 1960s – 1970s, is analyzed in the article. These are the periods, when impressionism as a bourgeois artistic trend has been “deleted” from the Soviet art because of the establishment of socialist realist doctrine. It has been returned gradually into the artists’ creative practices in the following years. Impressionism has preserved its attractiveness until the 1970s due to the peculiarities of the art development in the Soviet conditions (isolation from the world experience, shortage of extensive information about Ukrainian art of the pre-Soviet times) despite its historicity and close connection with art of the turn of the 19th – 20th century.
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Žalnora, Aistis. "Psychiatry in Vilnius in 16th–20th Centuries: Review on Social Transformations." Studia Historica Gedanensia 11 (2020): 246–62. http://dx.doi.org/10.4467/23916001hg.20.013.13619.
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There issue of Psychiatry in Vilnius is unexplored field especially in a terms of its social aspects. Most of the former papers devoted to psychiatry in Vilnius were written in descriptive manner or they were uncritical case studies of one or another hospital. One of the first successful studies that was constructed by using modern methodology was a monograph of Dr. Tomas Vaisėta that described a social features of Vilnius psychiatry. However, the study is devoted to a late period – Soviet psychiatry only. Therefore the modern analysis of earlier periods and other Vilnius hospitals was still missing. In our article, we set us a goal, namely, to find the most important features, the so‑called paradigm fractures in the social history of Vilnius psychiatry. The main tendency which should be emphasized was uneven development of Vilnius psychiatry, especially in a terms of attitude towards the patient. In most cases that could be interpreted in a light of a broader Global context. In Vilnius hospitals just like in other countries mentally ill were discriminated because of their unclear social and economic status. In the earliest period the mentally ill as an outcast of society is being locked in a jail‑like mental hospitals or fall into complete favor of the monastery hospices. The 19th century positivism at least theoretically brought humane paradigm to Lithuanian psychiatry. However, because of the limited medical measures as well as economic reasons the later period was marked by the realism or even negativism of semi‑modern interwar psychiatry. Mentally ill again falls into a status of outcast or a burden to the society. The question of responsibility towards mentally ill is avoided by the community as well as by state. Nevertheless, some original solutions were found in Vilnius district. The mentally ill were employed in local farms that at‑least partly solved the issues of economic burden. Moreover, there were some more tendencies that do not fit in the global narrative. Despite the technical advance in treatment that gradually enabled the psychiatrists to help the patient, in the Soviet period we observe the opposite tendency that was to restrain and harm the mentally ill patient. In many cases even totally healthy people were misdiagnosed to be mentally ill and received harsh chemical treatment and isolation because of their personal criticism towards totalitarian Soviet system.
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Włodarczyk, Wojciech. "1989. On the Concept of Modernism." Artium Quaestiones, no. 30 (December 20, 2019): 257–70. http://dx.doi.org/10.14746/aq.2019.30.14.
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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.
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Włodarczyk, Wojciech. "Rok 1989 – wokół pojęcia modernizmu." Artium Quaestiones, no. 30 (December 20, 2019): 415–28. http://dx.doi.org/10.14746/aq.2019.30.25.
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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.
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Montoya, Pablo. "Tomás Carrasquilla y los críticos colombianos del siglo XX." Estudios de Literatura Colombiana, no. 23 (August 16, 2013): 111–24. http://dx.doi.org/10.17533/udea.elc.16263.
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Resumen: El artículo hace un recorrido por las maneras en que los críticos colombianos más representativos del siglo XX han interpretado la obra de Carrasquilla. El cotejo de las diferentes lecturas permite, a su vez, aproximarse a los núcleos temáticos más polémicos que ha suscitado Carrasquilla a lo largo del tiempo en el seno de la crítica literaria nacional. Desde el asunto del lenguaje, pasando por la parodia y el humor, hasta las cuestiones del regionalismo y el cosmopolitismo son tratadas en este artículo. Se sopesan desde la actualidad las visiones que sobre Carrasquilla hicieron Baldomero Sanín Cano, Rafael Maya, Hernando Téllez, Rafael Gutiérrez Girardot y Rafael Humerto Moreno Durán, entre otro. Este itinerario culmina con una lectura de las posiciones que la Revista Mito y los nadaístas asumieron frente a la obra del escritor antioqueño. Descriptores: Crítica literaria colombiana del siglo XX; Regionalismo; Realismo; Lenguaje popular; Humor y parodia: Revista Mito; Dadaísmo; Valoraciones sobre la obra de Carrasquilla. Abstract: This is a survey on the ways 20th century Colombian literary critics have interpreted Tomás Carrasquilla's literary production. The confrontation of the different readings allows to approach the more polemical issues provoked by the author in the core of national literary criticism, such as: language, parody and humor, regionalism and cosmopolitanism. The points of view of Baldomero Sanín Cano, Rafael Maya, Hernando Téllez, Rafael Gutiérrez Girardot and Rafael Humerto Moreno Durán are weighed here from a contemporary perspective. This itinerary closes with a reading of the positions assumed about Carrasquilla's work by the editors of the journal Mito and the Nadaistas. Key Words: Colombian literary criticism; Regionalism; Realism; Popular language; Humor and parody; Mito journal; Nadaism.
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Cross, Graham. "From Reform to Rights: The American Culture of the Citizen Soldier and the Transformation of the Crusading Metaphor, 1917–1945." International Journal of Military History and Historiography 41, no. 2 (August 30, 2021): 208–46. http://dx.doi.org/10.1163/24683302-bja10024.
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Abstract The “crusading” imagery attached to American soldiers in the 1917–1945 period performed an important function in assigning meaning to the wars of the United States. This was the result of a complex interplay between “official” and “vernacular” culture. The doughboys of the First World War at times fought a romantic “crusade” to reform the nation, world and themselves from a morally privileged position. In the post-war era, the romantic “crusade” survived but was more in tune with the conservative corporatism of Republican administrations. By the Second World War, gi s had become the agents of a very different “crusade”. Americans now embraced statist common effort in a realist prospective vision for human rights. This fundamental change in the meaning of “crusade” attached to the experiences of American soldiers suggests a protean nature to the metaphor and problematises notions of an ideologically cohesive American “crusade” in the world during the 20th century.
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Biktimirov, V. E. "ARTISTIC UNDERSTANDING OF HISTORY IN G. GRASSE’S NOVEL “TOO FAR AFIELD”." Siberian Philological Forum 17, no. 5 (December 30, 2021): 55–65. http://dx.doi.org/10.25146/2587-7844-2021-17-4-102.
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Statement of the problem. The present research is devoted to studying of the G. Grasse’s novel “Too Far Afield”, in which the problem of the historical fate of the nation is coupled with questions about the meaning and functioning of fiction itself in the field of national culture. The purpose of the article is to consider the ways of representing historical material in the novel “Too Far Afield” by Gunther Grass in the context of the author’s historiosophy and the concept of a historiocentric novel. Methodology and methods. The methodology of the study is synthetic. The methods of the study include intertextual, historical-cultural and comparative-historical methods. The research is aimed not only at the analytics of the literary work by G. Grass, but also at the reconstruction of its historical concept. The research methodology is expanding with methods of hermeneutic theory. Research results. It has been established that it is important for G. Grass to show not the official documented historiography, but the subjective interpretation of well-known facts, the truth of which is confirmed by timeless value. Referring to the theme of the resistance of the past, the author focuses not only on the consequences of the unification of Germany in the 19th century, but also on the new historical reality, the era of the unification of Germany in the 20th century, in which the modern generation of Germans should exist. The literature, life and work of the German realist Theodor Fontane helps Grass to understand the historical cataclysm.
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Macdonald, Alexander J. R. "A Brief Review of the History of Electrotherapy and Its Union with Acupuncture." Acupuncture in Medicine 11, no. 2 (November 1993): 66–75. http://dx.doi.org/10.1136/aim.11.2.66.
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This is a brief review of the history of electrotherapy. Pain has been relieved by electricity since ancient times, at first by means of applying live electric fish to the tender part to cause numbness. But once frictional machines were found to produce electro-static electricity (Franklinism) in the mid 18th century the use of living organisms was discontinued. By the late 18th century Galvani had rediscovered the fact that animals developed electricity spontaneously. Volta discovered a chemical means of producing electricity from the first form of battery or voltaic pile without recourse to animal tissues or frictional machines whose efficiency varied with atmospheric conditions. This discovery led to the medical use of direct current (Galvanism). Its ability to cause necrosis by electrolytic means was employed in the destruction of tumours. Galvanism was also applied to needles, hence the first form of electroacupuncture pioneered by Berlioz and Sarlandiére. For the first time the combination of electrotherapy and oriental ideas about needling were brought together. Furthermore these early experimenters showed how stimulation of the nervous system brought profound relief from pain. In the early 19th century Faraday's work on the production of alternating currents and his understanding of electrolysis provided medicine with the escape that was required from the dangers of Galvanism. A variety of safer alternating and interrupted currents (Faradism) have been employed in electrotherapy ever since, particularly in the form of electroacupuncture, TENS (Transcutaneous Electrical Stimulation) and Dorsal Column Stimulation. The popularity of electrotherapy fell during the early part of the 20th century as no one knew how its effects were obtained. However now we know how afferent nerve fibres respond to different frequencies and amplitudes, electrotherapy permits the modern practitioner to stimulate the nervous system in a number of different ways to induce the selective production of various monoamines, amino acids and peptides in the central nervous system. However more experiments are required to make electrotherapy realise its true potential in stimulating the patient's own pain relieving substances.
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Łukomski, Grzegorz. "Polacy i Niemcy w geopolitycznej przestrzeni XX w." Przegląd Archiwalno-Historyczny 1 (2014): 29–43. http://dx.doi.org/10.4467/2391-890xpah.14.004.14865.
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Wielowiekowe trudne sąsiedztwo polsko-niemieckie skłania do refleksji nad wzajemną akulturacją, mającą swoje pozytywne i negatywne skutki, splataniem się w naszych dziejach wielkiej polityki i mikrohistorii, ludzkich losów wpisanych w dzieje obu narodów. W przeszłości relacje polsko - niemieckie kreowali nade wszystko intelektualiści i politycy, oni narzucali je społeczeństwom. W niemieckiej praktyce politycznej zagadnienie geopolityki łączyło się z pojęciami: Lebensraum (przestrzeń życiowa), Grossraum (wielka przestrzeń), Blut und Boden (krew i ziemia), Grossraumwirtschaft (gospodarka wielkiej przestrzeni) oraz Mitteleuropa (Europa Środkowa). Ta ostatnia koncepcja, głoszona przez ideologów i polityków niemieckich, miała bardzo istotne znaczenie, dotyczyła stworzenia zdominowanego przez Niemcy obszaru gospodarczego i geopolitycznego. Geopolityka to problem globalny, dotyczy każdego niemal państwa jako organizacji politycznej, której celem jest zapewnienie bezpieczeństwa swym obywatelom. W przypadku Polski, położonej w sercu Europy, realia geopolityczne miały od wieków także bardzo istotny aspekt globalny, który stanowi część rozważań w prezentowanej pracy. Podstawą myślenia geopolitycznego był realizm polityczny, reprezentowany przez środowiska konserwatywne i narodowe. Do nurtu tego zaliczyć należy myśl polityczną ks. Adama Jerzego Czartoryskiego, Aleksandra Wielopolskiego, oraz tradycję krakowskich stańczyków. Poles and Germans in Geopolitical Reality in the 20th Century Long, difficult Polish-German neighborhood is an inspiration to reflect upon the mutual acculturation, which has both positive and negative outcomes, and to reflect on how the great politics and micro-history overlapped across our history. It is also aimed to consider individual histories inscribed in the history of both nations. In the past, Polish-German relations were primarily created by politicians and great intellectual minds. They imposed those relations onto society. In the German politics, the notion of geopolitics was related to the notions of Lebensraum (living space), Grossraum (the great space), Blut und Boden (blood and soil), Grossraumwirtschaft (the economy of the great space) and Mitteleuropa (Central Europe). The last one, advocated by some German ideologists and politicians, was of primary significance. It was about creating a German-dominated economic and geopolitical area. Geopolitics is a global issue, it concerns almost every state – a political organization – which aims to provide security for its own citizens. In the case of Poland, a country located in the heart of Europe, for centuries, geopolitical reality has had an important global aspect, which is part of the discussion in the article. Political realism was the foundation of geopolitical thought, and it was represented by the conservative and national circles, e. g. political thought of father Adam Jerzy Czartoryski and Aleksander Wielkopolski and the tradition of Stanczyks from Cracow.
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Legčiļina-Broka, Rita. "Mythological matter. Folklore Images in the Landscape of Latvian Textile Art in the Second Half of 20th Century." Post-socialism/colonialism, no. 43 (2021): 113–31. http://dx.doi.org/10.35539/ltnc.2021.0043.r.l.b.113.131.
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20.gadsimta 60.–80. gados Latvijas tekstilmāksla piedzīvoja uzplau- kuma periodu, kas bija saistīts ar politiskām izmaiņām, profesionālās izglītības reformu un jaunu tēlveides paņēmienu apgūšanu. Īpaša loma šī perioda tekstilmākslas attīstībā pieder Latvijas Mākslas aka- dēmijas profesoram Rūdolfam Heimrātam, kura ieviestā izglītības metode, kā arī personīgie radošie mērķi ietekmēja kopējo nozares vir- zību vairākas sekojošās desmitgades. Attīstot tekstiliju par pilntiesīgu mākslas darbu, kurā iespējams vizualizēt māksliniecisko tēlu sižetiski vēstošā nozīmē, izveidojās īpašs laikmetīgajai tekstilmākslai raksturīgs tēmu loks. Tajā nemainīgi aktuālu vietu ieņēma folklorā un tautas mītiskajos priekšstatos balstīti tēlojumi. Raksta mērķis ir sniegt ieskatu folkloras tematikas atklāsmē Latvijas tekstilmākslā ietverot periodu, kad par vienīgo radošo metodi mākslā tika noteikts sociālistiskais realisms. Pētījumā tiek skaidrots kādi aps- tākļi ierosināja un veicināja folkloras tematikas izvērsumu tekstiljās, aprakstīta tēlu atveides tekstiliskā specifika, kā arī ir izveidots pārskats par raksturīgākajiem piemēriem, kuros konstatējama ne tikai nosau- kumā minēta atsauce uz folkloras avotu, bet arī plašākā simboliskā nozīmē attiecināms vēstījums. Papildus atsevišķiem piemēriem tiek pētīts, kā interese par folkloru un tautas garīgo mantojumu kopumā ietekmējusi atsevišķu tekstilmākslinieku radošo darbu, īpaši izdalot Heimrāta skolas pārstāvju Aijas Baumanes un Ingas Skujiņas daiļradi. Pētījumā izmantotās metodes ir lietisko un rakstisko avotu analīze, biogrāfisko datu analīze, intervijas un etnogrāfiskā datu ieguves metode. Pētījumā ir secināts, ka folkloras tēma Latvijas profesionāla- jā tekstilmākslā atklājas īpašā, tekstilmateriāla īpašību ietekmētā veidā, kas ļauj izteikt māksliniecisko tēlu ne tikai tēlojoša satura veidā, bet arī materiālā kontekstā.
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V. A., Alkov. "Science and business: problem of Ukrainian doctor’s choice in the life of the late 19th – early 20th century (the example of Y. Y. Trutovskiy)." Studies in history and philosophy of science and technology 28, no. 1 (May 5, 2019): 34–40. http://dx.doi.org/10.15421/271905.
Full textAbstract:
Scientists were interested in the interrelation of material and spiritual in human life since olden times. So, the correlation of science and business in the era of the Russian Empire’s capitalistic development is of great theoretical value. From this point of view the destiny of Kharkiv doctor and local businessman Y. Y. Trutovskiy appears to be of great interest for a researcher.
The article aims to understand what the main interests of the person studied were, analyse his scientific philosophy and accomplishments in the sphere of science and business, outline the main direction of Y. Y. Trutovskiy’s activity. His work as a doctorpsychiatrist, scientist, administrator, and entrepreneur are researched. Special attention is paid to science as sphere where he was talented but did not realise himself. From the point of view of the author, reasons for it are topical even in a contemporary society. Material problems of scientists and people at social service are outlined, low competitiveness of it in the comparison with private business profits is stressed.
Biographical approach is the leading one in this work. It permits to consider the personality of the doctor in complex, and in the historical context. For reconstruction of events and details of Y. Y. Trutovskiy’s life the microhistorical approach has been used as well as the way of dealing with analyzing the history of everyday life, i.e. “history from below”. The work is also based on historical and medical regional studies.
The author comes to the conclusion that Y. Y. Trutovskiy got started as a talented and perspective scientist in the spheres of physiology and neurology but finally chose to be a representative of the layer of successful medical private practitioners, who finally left science and concentrated on his own business, the private mental hospital. In this case, the author touches the problem of values and life choice which is topical for Ukrainian scientists, especially the young ones.
The material of the study can be useful for professional historians and doctors, comprising specialists in the history of science, health and medical history, regional historians who are interested in the problems of the history of everyday life, microhistory, biography, etc., as well as in the upbringing work with students at medical universities.
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Kinkley, Jeffrey C. "The Monster That Is History: History, Violence, and Fictional Writing in Twentieth-Century China. By David Der-Wei Wang. [Berkeley, Los Angeles and London: University of California Press, 2004. 402 pp. ISBN 0-520-23140-6.]." China Quarterly 182 (June 2005): 439–41. http://dx.doi.org/10.1017/s0305741005270261.
Full textAbstract:
This celebration of modern Chinese literature is a tour de force, David Wang's third major summation in English. He is even more prolific in Chinese. Wang's command of the creative and critical literatures is unrivalled.Monster's subject is “the multivalence of Chinese violence across the past century”: not 1960s “structural violence” or postcolonial “epistemic violence,” but hunger, suicide, anomie, betrayal (though not assassination or incarceration), and “the violence of representation”: misery that reflects or creates monstrosity in history. Monster thus comments on “history and memory,” like Ban Wang's and Yomi Braester's recent efforts, although for historical reasons modern Chinese literature studies are allergic to historical and sociological methodologies.Monster is comparative, mixing diverse – sometimes little read – post-May Fourth and Cold War-era works with pieces from the 19th and 20th fins de siècle. Each chapter is a free associative rhapsody (sometimes brilliant, sometimes tedious; often neo-Freudian), evoking, from a recurring minor detail as in new historicist criticism, a major binary trope or problematic for Wang to “collapse” or blur. His forte is making connections between works. The findings: (1) decapitation (loss of a “head,” or guiding consciousness?) in Chinese fiction betokens remembering or “re-membering” (of the severed), as in an unfinished Qing novel depicting beheaded Boxers, works by Lu Xun and Shen Congwen, and Wuhe's 2000 commemoration of a 1930 Taiwanese aboriginal uprising; (2) justice is poetic, but equals punishment, even crime, in late Qing castigatory novels, Bai Wei, and several Maoist writers; (3) in revolutionary literature, love and revolution blur, as do love affairs in life with those in fiction; (4) hunger, indistinct from anorexia, is excess; witness “starved” heroines of Lu Xun, Lu Ling, Eileen Chang and Chen Yingzhen; (5) remembering scars creates scars, as in socialist realism, Taiwan's anticommunist fiction, and post-Mao scar literature; (6) in fiction about evil (late Ming and late Qing novels; Jiang Gui), inhumanity is all too human and sex blurs with politics; (7) suicide can be a poet's immortality, from Wang Guowei to Gu Cheng; (8) cultural China's most creative new works invoke ghosts again, obscuring lines between the human, the “real,” and the spectral.
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Čebron Lipovec, Neža. "Homage to a New Town in an Old One: Dequel’s Bust of Pier Paolo Vergerio il Giovane." Ars & Humanitas 13, no. 1 (August 20, 2019): 248–63. http://dx.doi.org/10.4312/ah.13.1.248-263.
Full textAbstract:
The concept of collective memory raises fundamental questions regarding the assessment of heritage, especially of built heritage in contested spaces. The simultaneous presence of different groups in conflict introduces into the space parallel memory discourses that can be recognised both in the built environment as well as in public sculpture, and both can be read as a symbolic marking of space (Veschambre, 2008). The urban space of northern Istria, where the Italian and Slovene communities have become intertwined throughout history, were drastically marked by the political and historic events of the mid-20th century. Post-war conflict-solving processes lead and an ongoing process of “ethnic metamorphosis” (Purini, 2010) in the region came to a peak when the majoritarian Italian-speaking population of the urban area emigrated, while the space was settled by newcomers from inner Slovenian regions and other Yugoslav republics. Tensions between Slovenes and Italians arose in the early 20th century, especially from the period of Fascist oppression and violence against the Slovene population. Nevertheless, the antifascist struggle united the two ethnic groups, specifically within the Communist ideology, so after WWII the area of the so-called Zona B of the Free Territory of Trieste was marked by the ideal of fratellanza, the brotherhood between Italians and Slovenes in Istria. A monument to this ideal was created by a sculptor from Capodistria, Oreste Dequel, who is unknown in the Slovene context. The sculpture represented the Protestant Bishop of Capodistria, Pier Paolo Vergerio il Giovane, a friend of the key Slovene Protestant Primož Trubar. Despite the then leading Socialist Realist aesthetics, the artist managed to intertwine in the artwork, using a subversive approach, several collective memories.
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Čebron Lipovec, Neža. "Homage to a New Town in an Old One: Dequel’s Bust of Pier Paolo Vergerio il Giovane." Ars & Humanitas 13, no. 1 (August 20, 2019): 248–63. http://dx.doi.org/10.4312/ars.13.1.248-263.
Full textAbstract:
The concept of collective memory raises fundamental questions regarding the assessment of heritage, especially of built heritage in contested spaces. The simultaneous presence of different groups in conflict introduces into the space parallel memory discourses that can be recognised both in the built environment as well as in public sculpture, and both can be read as a symbolic marking of space (Veschambre, 2008). The urban space of northern Istria, where the Italian and Slovene communities have become intertwined throughout history, were drastically marked by the political and historic events of the mid-20th century. Post-war conflict-solving processes lead and an ongoing process of “ethnic metamorphosis” (Purini, 2010) in the region came to a peak when the majoritarian Italian-speaking population of the urban area emigrated, while the space was settled by newcomers from inner Slovenian regions and other Yugoslav republics. Tensions between Slovenes and Italians arose in the early 20th century, especially from the period of Fascist oppression and violence against the Slovene population. Nevertheless, the antifascist struggle united the two ethnic groups, specifically within the Communist ideology, so after WWII the area of the so-called Zona B of the Free Territory of Trieste was marked by the ideal of fratellanza, the brotherhood between Italians and Slovenes in Istria. A monument to this ideal was created by a sculptor from Capodistria, Oreste Dequel, who is unknown in the Slovene context. The sculpture represented the Protestant Bishop of Capodistria, Pier Paolo Vergerio il Giovane, a friend of the key Slovene Protestant Primož Trubar. Despite the then leading Socialist Realist aesthetics, the artist managed to intertwine in the artwork, using a subversive approach, several collective memories.
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Fernée, Tadd Graham. "Systems and accidents in 20th century magical realist literature: Salman Rushdie's "Midnight's Children" and Sadegh Hedayat's "The blind owl" as critiques of modern nation-making experiments." English Studies at NBU 1, no. 2 (December 31, 2015): 55–70. http://dx.doi.org/10.33919/esnbu.15.2.4.
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This article compares two major 20th century magical realist novels - Salman Rushdie’s Midnight’s Children and Sadegh Hedayat’s The Blind Owl – as critiques of modern nation-making practices, in Nehruvian post-independence India and Iran under Reza Shah Pahlavi. The analysis centers the interplay of accidents and systems, in political constructions and contestations of modern self, history and knowledge. The works are assessed in terms of two aesthetic paradigms of modernity: Baudelaire’s vision of modernity as traumatic deracination involving new creative possibilities and freedom, and Cocteau’s vision of modernity as an Infernal Machine where a pre-recorded universe annihilates creative freedom. The political significance of these aesthetics are evaluated against the two distinctive nationalist narratives which the authors set out to contest in their respective novels. Both novels offer important critiques of violence. Yet both reveal a Proustian aesthetic of nostalgia, rejecting organized political action in the public sphere to celebrate imaginative introversion.
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Jürgens, Anna-Sophie. "Batman and the World of Tomorrow: Yesterday’s Technological Future in the Animated Film Batman: Mask of the Phantasm." Animation 15, no. 3 (November 2020): 246–59. http://dx.doi.org/10.1177/1746847720965459.
Full textAbstract:
Examining facets of modernist visions of our technological future and of theatricalized city and stage spaces in the 1993 animated film Batman: Mask of the Phantasm, this article explores the cultural meaning of technology in graphic fiction. The confrontation scene between Batman and Joker in the grounds of Gotham’s World’s Fair, the author argues, echoes the 1939 New York World’s Fair with its modernist urban optimism and pop cultural fascination with new visionary technologies, as well as the modern history of moving pictures and multi-media spectacle. The article spotlights the power of the Batman story to participate in, and contribute towards, complex cultural inquiry and transmedial discourses around technology and popular entertainments. Through the exquisite medium of animation – which allows animated characters to be placed on an abstract architectural city stage – Mask of the Phantasm also embodies modernist visions of the ‘ideal’ stage character in a medium that creates non-realist art and more complex possibilities for movement, thus transporting modernist thinking into the 20th century.
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Lindovská, Nadežda. "Year 1948: Emancipation of Women and Slovak Theatre." Slovenske divadlo /The Slovak Theatre 66, no. 2 (June 1, 2018): 141–63. http://dx.doi.org/10.2478/sd-2018-0009.
Full textAbstract:
Abstract From the cultural and art point of view, the year 1948 in Czechoslovakia was not just the so-called “Victorious February” of the working people. The remarkable phenomenon of this era, which was related to the post-war political and social movement, was the phenomenon of female emancipation and feminization of the stage production. During the two consecutive theatre seasons 1947/1948 and 1948/1949, at The New Scene Theatre of the National Theatre in Bratislava, several women, led by the director Magda Husaková-Lokvencová created several productions. For the first time, a sovereign feminine alliance had emerged in our performance art, proving that conceptual and thoughtful theatrical production may not be just the domain of men. These women contributed to deconstructing the beliefs of typically male and typically female professions as well as transforming traditional views of the role and position of both sexes in society and the arts. The attention of theatre historiography in the recapitalization of the impacts of the breakthrough events of the Czechoslovak post-war politics of the forty years on cultural events so far focused mainly on the issues of dramaturgy and poetics, the process of ideological transformation and the sovietisation of art in the spirit of socialist realism. The subject of socialist emancipation and theatre was at the edge of the interest of our theatrology. Ten years ago, a collective monograph, dedicated to the first lady of the Slovak theatre directors, Magda Husaková-Lokvencová, managing to free her forgotten personality and work and return her to the context of Slovak theatre history in the second half of the 20th century. There is still room for further research, complementing the knowledge and reflection of the advent of women in the sphere of theatre directory, dramaturgy and scenography artwork, as part of the history of gender relations in Slovakia. Increased interest in the history of women provokes a new reflection on the issue of emancipation and theatre.
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Houser, Nathan. "Semiotics and Philosophy." American Journal of Semiotics 36, no. 1 (2020): 135–64. http://dx.doi.org/10.5840/ajs202082764.
Full textAbstract:
Semiotics has not been warmly welcomed as an area of research concentration within philosophy, especially not within philosophy in the English empirical tradition. But when we consider that much of the focus of semiotic research is signification, reference, and representation, it seems evident that semiotic questions are as old as reflective thought itself. A look at how these questions have been treated throughout the history of philosophy suggests that Umberto Eco was right in claiming that most major philosophers have grappled with sign theory, if only implicitly. The theory of signs was an active area of research during the Middle Ages and John Locke opened the Modern Age with the recommendation that semiotics should be cultivated. But the philosophers of Modernity embraced a Cartesian separation between mind and body unsupportive of a robust science of signs. When semiotics emerged as a discrete field of research in the writings of Charles S. Peirce and in the semiology of Ferdinand de Saussure, it remained on the fringes of philosophy. Around mid-20th century there was a resurgence of interest in semiotics and a promising attempt was made to merge American pragmatism and semiotics with the logical empiricism of the Vienna Circle. But that effort failed and semiotics was excluded from mainstream philosophy. There is now reason to suppose that philosophy, no longer under the domination of analytic philosophy, may be moving into a new period when a weakening commitment to epistemological nominalism will make room for a return to semiotic realism. Perhaps the time is right to follow Locke’s lead and to reconcile formal semiotics with philosophy—possibly heralding a new paradigm.
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Subashi, Esmeralda. "Tennessee Williams's Dramatic World." European Journal of Language and Literature 3, no. 1 (December 30, 2015): 77. http://dx.doi.org/10.26417/ejls.v3i1.p77-82.
Full textAbstract:
Tennessee Williams has been regarded as the greatest Southern dramatist and one of the most distinguished playwrights in the history of American drama. He is undoubtedly the most renowned American dramatist of the second half of the 20th Century. This paper addresses and explores some of the main features of his dramatic works. His drama was a lyric or poetic one, and that is why the critic and scholar Frank Durham referred to him as “Tennessee Williams, theater poet in prose”. When David Mamet describes William’s plays as “the greatest dramatic poetry in the American language”, he shares the widely accepted opinion that Williams brought to the language of the American theater a lyricism unequaled before or after. He infuses his dialogue with lyrical qualities so subtle that the reader or hearer, unaware, responds not to realistic speech but, instead, to speech heightened by such poetic effects as alliteration, rhythm, onomatopoeia, and assonance. As a Southern writer, Williams was attuned to the natural rhythm and melody of Southern speech, a melody, he says, heard especially in the voices of women. Characterization is one of Williams’s strongest achievements as a dramatist. His people are imaginatively conceived yet so convincing that it is tempting to take them out of context and theorize about their lives before and after the action of the play. In place of realism, which stressed photographic duplication of the actual, a style that had dominated American stage for four decades, Williams insisted on a theater that was “plastic” that combined all the elements of production- dialogue, action, setting, lighting, even properties- in a unified, symbolic expression of a truth.
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LIRĂ, Corina-Andreea. "FEMINISM IN INTERNATIONAL RELATIONS." INTERNATIONAL SCIENTIFIC CONFERINCE "STRATEGIESXXI" 18, no. 1 (December 6, 2022): 92–100. http://dx.doi.org/10.53477/2971-8813-22-10.
Full textAbstract:
From a theoretical point of view, for many decades the discipline of International Relations was dominated by the triad of realism, which remained the overwhelmingly dominant theoretical approach. It was not until 1980 that other political approaches began to gain some momentum. International relations is one of the last areas to accept feminism. This has contributed greatly to its use in almost all areas of research. Compared to other disciplines, the feminist aspect in international relations appeared much later. Feminism is a series of movements aimed at defending equal opportunities for women in the different areas of politics, social rights and other aspects of society. Feminist approaches to international relations became widespread in the late 20th century, and these approaches called for women’s experiences to be ignored from studies of international relations theory. Feminists who study international relations have argued that gender issues apply to international relations. Women succeed through their ambition, diplomacy and oratory to excel in the leadership area, which is the main premise for women to lead fully, dynamically but also in an original way. Throughout history, women have gone through several stages that have finally brought her to the position where the male elite give respect, love and attention to women throughout society. This paper fully demonstrates the vitality and continued viability of feminist projects in a variety of forms and contexts, assesses the challenges facing feminism and strongly advocates its continued relevance to contemporary global politics. The main objective of this paper is to present the importance of feminism today and its role as a paradigm in international relations.
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Wang, Jun Xiao. "Study on Sculpture Based on New Materials." Applied Mechanics and Materials 340 (July 2013): 335–38. http://dx.doi.org/10.4028/www.scientific.net/amm.340.335.
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In the field of sculpture, the material is a sculptor's medium for the expression of aesthetic ideas, presenting a visual image. In a strict sense, all of the sculptures in the world are reflected through the material. It is recorded in the history of Western civilization development that ancient man started the sculpture very early and they also learned to take advantage of them during the creation of the material. As time goes on, the material has been an extremely important role to play in the sculpture development. In China, traditional sculpture materials have thousands of years of development, and our predecessors have already been familiar with heat and use it freely. After the beginning of the 20th century, the traditional Chinese culture triggered major changes in the concept under the influence of Western culture shock, the traditional realist sculpture in the West spread in China for more than half a century. During this period, Western art experienced the evolution of modernism and post-modernism, and the Western modernist sculpture broaden people's understanding of the "material", they were no longer the four materials of clay, wood, stone and copper of the traditional sense. And the use of the material is very extensive. In view of this, the article analyzes and discusses the application of a new type of material in sculpture.
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Gaidaev, Oleg Sergeevich. "Securitization Theory or a Well Overlooked Old: On the Philosophical and Theoretical Premises and Origins of the Theory." Vestnik RUDN. International Relations 21, no. 1 (December 15, 2021): 20–32. http://dx.doi.org/10.22363/2313-0660-2021-21-1-20-32.
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More than 20 years have passed since B. Buzan, O. Wver and J. de Wilde published their Security: A New Framework for Analysis, which has become a classic in the discipline of security studies. Although Russian scholars increasingly attempt to use the securitization theorys conceptual apparatus in their research, the knowledge of the theory itself remains rather fragmentary. The overwhelming majority of existing papers refer to the so-called Copenhagen Schools (CS) intellectual heritage, while more comprehensive approaches and recent studies remain almost unknown among Russian scholars. The author attempts to fill this gap. This article is first in line of a series of studies, entirely devoted to the phenomenon of securitization: from the earliest milestones to the modern stage of development of the theory. The paper examines the theoretical and philosophical premises, as well as the ideas and assumptions of the securitization theory, first formulated by O. Wver in the late 1980s. The author refers to the original texts of the main figures of the CS: O. Wver and B. Buzan, conceptualizing the history of the concept of securitization and immersing the reader into the atmosphere of security studies field at the end of the 20th century. As a result, it becomes possible to determine the key elements of the early theory of securitization: security as a speech act, national security as a main focus of study, post-structural realism as a research agenda of O. Wver, and the idea of security as a negative meaning. The article concludes that despite the shortcomings of the early theory of securitization noted by many critics, it was based on a valuable and fruitful idea - an attempt to go beyond the notion of security as an absolute good or a metaphysical entity, which was typical of traditional and many alternative approaches to the definition of security.