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Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings". Prospects 30 (octubre de 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.
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The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.
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Benetti, Alessandro. "GAIA CARAMELINO; STÉPHANIE DADOUR (a cura di): THE HOUSING PROJECT: DISCOURSES, IDEALS, MODELS, AND POLITICS IN 20TH-CENTURY EXHIBITIONS". Proyecto, Progreso, Arquitectura, n.º 27 (2022): 206–7. http://dx.doi.org/10.12795/ppa.2022.i27.12.
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La casa e la mostra d’architettura sono i due oggetti di ricerca che s’incrociano in The Housing Project. Discourses Ideals, Models and Politics in 20th century exhibitions, co-curato da Gaia Caramellino e Stephanie Dadour nel 2020 per i tipi di Leuven Press. Il volume s’ispira alle discussioni del convegno On the Role of 20th Century Exhibitions in Shaping Housing Discourses (2016, ENSA Paris Malaquais e Politecnico di Milano). I dieci saggi di altrettanti autori europei e americani esplorano il ruolo delle mostre come medium in una fase cruciale di elaborazione e circolazione internazionale delle tante declinazioni della casa moderna, tra gli anni 1920 e 1970. Sono organizzati in due parti, che approfondiscono rispettivamente il ruolo delle mostre come spazi di traduzione e di mediazione. Caramellino e Dadour prendono le distanze da un approccio monografico e collocano le tante e diverse esperienze espositive in una cornice più ampia, sul piano disciplinare e geografico.
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Puerto, Cecilia. "Twentieth century Latin American women artists, discovery and record - a work in progress". Art Libraries Journal 20, n.º 3 (1995): 15–18. http://dx.doi.org/10.1017/s0307472200009457.
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The work of Latin American women artists is not adequately documented, nor is it sufficiently recognised in the major art reference works and bibliographies which thus fail to facilitate access even to documentation which is available in the USA. The author has been working towards a bibliographic apparatus that will bring together readily available sources on 20th century Latin American women artists. Much material has been found in the Art Exhibition Catalog collection in the Arts Library at the University of California at Santa Barbara. Two Cuban artists, Ana Mendieta and María Martínez-Cañas, are just two of some 200 artists from 20 countries represented in this project. (The revised text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1995).
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Allen, Nancy S. "History of Western sources on Japanese art". Art Libraries Journal 11, n.º 4 (1986): 8–13. http://dx.doi.org/10.1017/s0307472200004867.
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Learning about Japanese art has been difficult for Westerners. Limited access, language barriers, and cultural misunderstanding have been almost insurmountable obstacles. Knowledge of Japanese art in the West began over 150 years before the arrival of Commodore Perry in 1853. Englebert Kaempfer (1657-1716), sent to Japan as a physician for the Dutch East India Company, befriended a young assistant who provided information for a book on Japanese life and history published in 1727. By 1850, more ethnographic information had been published in Europe. Catalogs of sales of Japanese art in Europe exist prior to 1850 and collection catalogs from major museums follow in the second half of that century. After the Meiji Restoration (1867) cultural exchange was possible and organizations for that purpose were formed. Diaries of 19th century travellers and important international fairs further expanded cross-cultural information. Okakura Kakuzo, a native of Japan, published in English about Japanese art and ultimately became Curator of the important collections of the Boston Museum of Fine Arts. The advent of photography made visual images easily accessible to Westerners. Great collectors built up the holdings of major American museums. In the 20th century, materials written and published in Japan in English language have furthered understanding of Japanese culture. During the past twenty years, travelling exhibitions and scholarly catalogs have circulated in the West. Presently monographs, dissertations and translated scholarly texts are available. Unfortunately, there is little understanding in the West of the organization of Japanese art libraries and archives which contain primary source material of interest to art historians.
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Wagner, Keith B. y Michael A. Unger. "Photographic and cinematic appropriation of atrocity images from Cambodia: auto-genocide in Western museum culture and The Missing Picture". Visual Communication 18, n.º 1 (3 de enero de 2018): 83–106. http://dx.doi.org/10.1177/1470357217742333.
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As a harrowing sub-discipline of English and Comparative Literature, Trauma Studies is in need of geographical expansion beyond its moorings in European genocides of the 20th century. In this article, the authors chart the institutional and cinematic appropriation of atrocity images in relation to the Khmer Rouge’s auto-genocide from 1975–1979 in Cambodia. They analyse the cultural and scholarly value of these images in conjunction with genocide studies to reveal principles often overlooked, taken for granted, or pushed to the periphery in photography studies and film studies. Through grim appropriations of archival or news footage to more experimental approaches in documentary, such as the use of dioramas, the authors examine the commercial and artistic articulations of trauma, reconciliation and testimony in two case studies: The Museum of Modern Art (MoMA) exhibition Photographs from S-21: 1975–1979 (1997) and Pithy Panh’s documentary The Missing Picture (2013). The authors first focus on the relatively obscure scholarship devoted to contextualizing images from international genocides outside the Euro-American canon for genocide study in order to build their critical formulations; they go on to explore whether these atrocity-themed still and moving images are capable of defying aspects of commodification and sensationalism to instead convey positive notions of commemoration and memory. Finally, their contribution to this debate regarding the merit of appropriating atrocity imagery is viewed from two perspectives: ‘commodified witnessing’ (a negative descriptor for the MoMA exhibition) and ‘commemorative witnessing’ (a positive term for the Cambodian film).
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Senuliene, Jurgita. "Searching for Identity in the 20th-Century Lithuanian-American Food Exhibitions". Loci Communes 1, n.º 2 (28 de junio de 2022): 1–19. http://dx.doi.org/10.31261/lc.2022.02.04.
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In this case the author of the article, using quantitative and qualitative analysis of the selected periodical publications, examines ethnic food fairs held in the USA in the 20th century. Focusing on the issue of food as an expression of ethnic identity, the article aims to reveal how Lithuanian emigrants, by organising and participating in ethnic food exhibitions, disseminated and aspired to maintain their ethnic and national identity. The theoretical approach of the research is based on the theories of coexistence of multicultural societies, that is the “melting pot” and a “salad bowl”. The author addresses the following questions: 1. How have world and food fairs developed in the USA? 2. What impressions did the Lithuanian diaspora leave in world and ethnic food fairs? 3. How was identity fostered at Lithuanian exhibitions of “national dishes” during World War II? and 4. What role did ethnic food exhibitions organised by the Lithuanian diaspora play in the construction of identity? The author concludes that exhibitions of “national dishes” organised by Lithuanians brings to light a certain fragmentation of the diaspora in terms of food and ethnic identity.
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Burganova, Maria A. "LETTER FROM THE EDITOR". Scientific and analytical journal Burganov House. The space of culture 17, n.º 5 (10 de diciembre de 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.
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Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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REDMAN, SAMUEL. "Remembering Exhibitions on Race in the 20th-century United States". American Anthropologist 111, n.º 4 (17 de noviembre de 2009): 517–18. http://dx.doi.org/10.1111/j.1548-1433.2009.01160_1.x.
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Ian Shin, K. "The Chinese Art “Arms Race”". Journal of American-East Asian Relations 23, n.º 3 (27 de octubre de 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.
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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.
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Buchli, Victor. "The Destruction of Gemütlichkeit? Programmatic Exhibitions on Domestic Living in the 20th Century". Home Cultures 4, n.º 2 (julio de 2007): 201–6. http://dx.doi.org/10.2752/174063107x209028.
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WESSELING, H. L. "Editorial: the American Century in Europe". European Review 12, n.º 2 (mayo de 2004): 123–26. http://dx.doi.org/10.1017/s1062798704000122.
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In 1999, the Whitney Museum of American Art had a very successful exhibition called The American Century. Indeed, there were two exhibitions, The American Century, Part I about the first half of the 20th century and Part II dealing with the following 50 years. The presentation was divided up into decades, each of them having its own motto. The one for the 1950s was: ‘America takes command’. This may sound rather martial but the motto is indeed very appropriate, as one could argue that as from then on American leadership also included cultural leadership.The name of the exhibition, ‘The American Century’, was of course derived from the title of the famous article that Henry Luce, the editor/publisher of journals such as Life and Time, published in Life on 17 February 1941. Luce wanted the Americans to play a major role in the war for freedom and democracy that was in progress at that time and the building of the better world that would have to come after that. In his article Luce insisted that ‘our vision of America as a world power includes a passionate devotion to great American ideals’. The idea of America as a world power and, indeed, as the world power of the future, is, of course, much older than the concept of the 20th century as the American century. Already in 1902, the British liberal journalist and advocate of world peace through arbitration, W.T. Stead published a book with the title The Americanization of the World, or the Trend of the Twentieth Century. According to Stead, the heyday of the British Empire was over and the US was the Empire of the future. The enormous success of America was due to three things: education, production and democracy. Britain's choice was between subjugation or cooperation. Stead even proposed the merger of the two countries. In the following decade, this idea that America was Britain's successor and that the two countries should – and could – form a union because of their intimate familiarity, became popular among British writers.
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Barris, Roann. "Exhibiting Russia". Experiment 23, n.º 1 (11 de octubre de 2017): 142–57. http://dx.doi.org/10.1163/2211730x-12341307.
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Abstract Although we have some first-hand accounts of visits by American drama critics and theater directors to the Soviet Union in the 1920s and 1930s, with one or two exceptions we do not know much about how American visual artists gained first-hand knowledge of the works of the Russian avant-garde at this time. Tracing the surprisingly rich history of American exhibitions of Russian art in the first half of the twentieth century, this paper examines the influence of Berlin and Vienna in shaping American exhibitions and also shows how curatorial decisions often determined which artists were associated with which movements, even when these associations would later be contradicted by historical facts. Indeed, style may be said to have played a subservient role as curators strove to associate the avant-garde with spirituality or to gain public support for starving Russian artists. Nevertheless, these exhibitions did bring significant works to the attention of American artists and the American public, revealing the significance of certain artists as well as collectors and curators in shaping the American understanding of the Russian avant-garde.
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Calo, Mary Ann. "A Community Art Center for Harlem: The Cultural Politics of “Negro Art” Initiatives in the Early 20th Century". Prospects 29 (octubre de 2005): 155–83. http://dx.doi.org/10.1017/s0361233300001721.
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During the interwar decades, African American artists grew in number and visibility, and a wide range of publications featured stories on so-called Negro art. Notices on Negro art exhibitions and educational initiatives appeared in the black press and the mainstream mass media, as well as in special interest publications ranging from Art News to the Club Candle (the newsletter of the New Rochelle Women's Club). Though small in number, collectively these events served as opportunities to measure the overall progress or pulse of the African American artist.
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Achten, Anastasiia R. "Imitation of Ottoman ornaments the Italian ceramics of the 14th – 20th centuries". Vestnik of Saint Petersburg State University of Culture, n.º 1 (58) (2024): 108–13. http://dx.doi.org/10.30725/2619-0303-2024-1-108-113.
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This article is devoted to the Italian tradition of imitation of Ottoman ceramics from the 14th century to the beginning of the 20th century. The first period covers the pottery industry of the 14th and 15th centuries; the second period lasts from the end of the 15th century to the 18th century, and the last one is the industrial age, the end of the 19th – the beginning of the 20th century. The first period represents only regional touches and the use of similar artistic techniques and colors. The second period is illustrated with more specific examples, such as the use of the Turkish ornament «tugrech». And finally, the third period fully reveals the imitation and copying of Ottoman products, which occurs due to industrialization, the emergence of museums of decorative arts and world exhibitions. In search of inspiration, ceramics such as Cantagalli, the artist Pio Fabri and his daughter Emma Fabri are at the forefront of the renaissance of the «Ottoman style» in ceramics.
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Park, Hyesung. "Rethinking the 20th-Century Korean Embroidery from Gender Perspectives". Korean Journal of Art History 320 (31 de diciembre de 2023): 65–98. http://dx.doi.org/10.31065/kjah.320.202312.003.
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The rupture in the history of Korean embroidery is generally perceived as a severance from the traditional embroidery, made due to the Japanese colonial rule. However, it cannot be denied that the narrative of modern and contemporary Korean art history, mainly constructed around artistic movements and groups, also played a major part. The dispute encompasses the fundamental question of whether embroidery can be seen as a form of fine art from the perspective of modernist aesthetics, and the matter of hierarchy between different crafts. Also inherent are the tensions between contradictory values such as tradition and modernity, Western or Japanese and Eastern or Korean, abstract and figurative, and others peculiar to Korea, and the effects of such binary oppositions are closely related to gender problems. This paper re-examines, from gender perspectives, the chronological history of embroidery since the late 19th century, which had been placed on the periphery of Korean art history until now. In the traditional society, embroidery was produced and enjoyed privately, but moved into the public sphere through education and exhibitions for women during modernization. In the process, in order to be recognized as a form of pure art, embroidery gave up its unique characteristics as craft and took on the formative language of paintings. In the years immediately after liberation from Japanese colonial rule, which was the era of eradication of Japanese influences, establishment of national identity, and industrialization, embroidery was divided into abstract embroidery understood as more masculine, and traditional embroidery considered more feminine. Korean embroidery artists in the 20<sup>th</sup> century, as women experiencing particular historical contexts, worked with confidence in the artistic value of embroidery due to or despite their specific circumstances.
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Albano, Caterina. "The Exhibition as an Experiment: An Analogy and Its Implications". Journal of Visual Culture 17, n.º 1 (abril de 2018): 97–116. http://dx.doi.org/10.1177/1470412918763446.
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The analogy of the exhibition as an experiment suggests innovative curatorial approaches that challenge institutional practices. This analogy has however a historical precedence in modernism when it became paradigmatic of the exhibitions at the Museum of Modern Art in New York in the 1940s, defining the curatorial approach of its founding director Alfred J Barr. This article considers this early use of the analogy of the exhibition as an experiment and further reflects on its redefinition at the turn of the 20th century by examining how both the notions of the exhibition and of the experiment have changed over time. In particular, the article examines the different meanings and practices inferred by the concepts of the exhibition and the experiment in the first decades of the 20th century and in the present. It outlines how correspondences between cultural and scientific paradigms can be deployed to tease unacknowledged synergies between two modes of knowledge production (i.e. the art exhibition and the experiment) and address questions of presentness, authority and legitimacy that they imply.
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Glinternik, Eleonora M. "Exhibitions of the First Third of the 20th Century in the Imperial Academy Arts — Leningrad VHUTEIN". Actual Problems of Theory and History of Art 10 (2020): 436–47. http://dx.doi.org/10.18688/aa200-3-38.
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Zabalueva, Olga. "Multimedia Historical Parks and the Heritage-based “Regime of Truth” in Russia". Culture Unbound 14, n.º 2 (7 de julio de 2022): 83–106. http://dx.doi.org/10.3384/cu.3975.
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This article focuses on the 2013–2016 exhibitions in Moscow Manege which were later transformed into a network of entertainment centres (“historical parks”) Russia––my (hi)story. The exhibitions are built on multimedia technologies and include no authentic artefacts/museum objects. There is a growing network of such centres all over Russia, all organized in a similar manner, appealing to the visitor’s emotions and creating a relation of affect through the unravelling of a nationalistic historical narrative. Claimed to present “the objective picture of the Russian history” the exhibitions are following the recent developments in Russian cultural policies and history curricula. By analysing narratives presented at the “historical park” exhibitions, in policy documents and in media, this article follows the changes in public attitude towards history, which heritage is perceived as ‘difficult’ and ‘contested’ and how the digital representations influence these perceptions. Based on this analysis I argue that the reduction of the museum mechanism to only digital and multimedia form can bring along very serious issues in different political contexts. Russian historical parks enterprise, which combines the methods of fostering patriotism by the means of historical narrative templates both from the 19th and the 20th centuries, enhanced with the 21st-century technology in a form of “multimedia museums,” is only one of such examples.
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Salmi, Hannu. "Gregory Nava's On the American Dream in the 20th Century: The American Tapestry". Film & History: An Interdisciplinary Journal of Film and Television Studies 30, n.º 1 (marzo de 2000): 70–71. http://dx.doi.org/10.1353/flm.2000.a400202.
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LaRossa, Ralph, Betty Anne Gordon, Ronald Jay Wilson, Annette Bairan y Charles Jaret. "The Fluctuating Image of the 20th Century American Father". Journal of Marriage and the Family 53, n.º 4 (noviembre de 1991): 987. http://dx.doi.org/10.2307/353002.
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Cummings, Paul. "20th Century Drawings from the Whitney Museum of American Art". Leonardo 22, n.º 2 (1989): 274. http://dx.doi.org/10.2307/1575256.
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Gulyamova, Intizor T. "AMERICAN WRITERS PAY A VISIT TO THE USSR. “SPACE” AND “TIME” AS THE CORE CATEGORIES IN THE AMERICAN TRAVEL LITERATURE IN THE 1920-1940S". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n.º 7 (2023): 188–206. http://dx.doi.org/10.28995/2686-7249-2023-7-188-206.
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In the academic field, Soviet-American relations are more often studied in the context of the Cold War, while bilateral contacts in the first half of the 20th century are much less represented. Research focuses more on formal cultural diplomacy, implemented through the organization of cultural exhibitions, film festivals and creative initiatives, rather than on visits by foreign intellectuals motivated to see the Soviet country from the inside. The article examines the plot-forming categories of “space” and “time” in the travelogue works of American writers who personally visited the USSR in the 1920–1940s. The focus of the study is the travel diaries of Theodore Dreiser, Langston Hughes and John Steinbeck. Each travel journal operates within its own spatial boundaries and time period within the geography of the USSR and a given chronological period of the 20th century. The key aspect of this work is the analysis of the chronotope (according to M.M. Bakhtin), which represents the interconnection of temporal and spatial relations in the narrative. Being constructed by the writer, the chronotope consists of premises, signs, symbols and ideas that bear the imprint of the time of a given period and are inextricably linked with the figure of the author of each travel diary under consideration. This approach to the analysis of the diary text makes it possible to reveal the writer’s understanding of the reality around him, which he attributes with meaning in the context of the historical and political realities of the given epoch.
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Bornmann, John. "Homefront: A Military City and the American 20th Century (review)". Anthropological Quarterly 76, n.º 4 (2003): 823–25. http://dx.doi.org/10.1353/anq.2003.0052.
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Matějová, Judita. "Muzejní časopis Mittheilugen des Mährischen Gewerbe-Museums in Brünn (1883–1918) v kontextu časopisů uměleckoprůmyslových muzeí v českých zemích". Acta Musei Nationalis Pragae – Historia litterarum 67, n.º 3-4 (2023): 131–37. http://dx.doi.org/10.37520/amnpsc.2022.031.
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The article focuses on the museum journal Mittheilungen des Mährischen Gewerbe-Museums in Brünn, one of the important source materials for research on the arts and crafts of the last third of the 19th century and the early 20th century not only in Moravia but also in the cultural areas of the Austrian monarchy. The journal was published in the Moravian Industrial Museum in Brno in 1883–1918, when the museum was headed by two important directors – August Prokop (1883–1893) and Julius Leisching (1893–1922). Under the influence of the latter, the museum became the press authority of the Association of Austrian Museums of Applied Arts, the Association of Austro-Moravian Local Museums and the German-Moravian Association of Heritage Preservation. The journal contained articles on art history and information on current exhibitions, museum collections and activities as well as on the museum library.
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Simour, Lhoussain. "Blurring the Boundaries of Gendered Encounters: Moorish Dancing Girls in Nineteenth and Early Twentieth-Century American Fair Exhibitions". Hawwa 11, n.º 2-3 (9 de junio de 2014): 133–59. http://dx.doi.org/10.1163/15692086-12341250.
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Moroccan dancing women appeared as entertainers in 19th and 20th-century American fair expositions. Their physical and epistemological journeys and their performances on the fair midways have been largely missing from the histories of the Moroccan and American entertainment industries. Their experiences and narratives overseas are stimulating and worth recovering, because they offer suitable settings in which to engage with the complexities of cultural and racial contacts between self and other, and add an interesting dimension to the notion of travel and border crossing in which gendered routes contributed to the shaping of discourses about racial difference. This article looks at North African dancing women, often conflated in American international expositions under the term “belly-dancing girls” and in their local countries, pejoratively, as shikhat (public dancers in Moroccan dialect). I begin with a brief discussion of Deborah Kaption’s Moroccan Female Performers Defining the Social Body (1994) as a pretext for moving beyond the rigid ethnographical discourses about cultural difference. This article sheds light on gendered encounters in the historical context of fair expositions, where live performances helped shape a tradition of self-referential knowledge about oriental dancing women as a site of fantasies, sexual prowess, and erotic desires. It then proceeds to deal with some experiences of the dancers themselves as “living exhibits” and how their live performances contributed to forming not only orientalist discourse but also the oriental and Western subjects. These dancers were individualized subjects and performers who challenged the conventional definitions about oriental female roles and subverted the American Victorian model of femininity.
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Webb, Barbara L. "The Black Dandyism of George Walker: A Case Study in Genealogical Method". TDR/The Drama Review 45, n.º 4 (diciembre de 2001): 7–24. http://dx.doi.org/10.1162/105420401772990306.
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Федорук, Олександр. "The Kyiv artistic life in the late 19th and early 20th centuries. Polish discourse". CONTEMPORARY ART, n.º 18 (29 de noviembre de 2022): 307–20. http://dx.doi.org/10.31500/2309-8813.18.2022.273817.
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The article focuses on the problem of the local isolation of art at the turn of the 19th-20th century and the role of Ukrainian-Polish creative contacts in establishing Ukrainian artistic discourse. The works of K. Pryzhikhovskyi, A. Kendzerskyi, P. Vasylchenko, K. Ivanytska, artists who are half-forgotten today, were discerned by the importance of experience exchange and the need to find new imagery. The aforementioned artists performed together with I. Rashevskyi, M. Pymonenko, and Ya. Stanislavskyi. The connection of the latter with Ukraine is studied in particular through his pedagogical activities. Also, the characteristic features of Polish plastic arts in Poland and outside the country (Kyiv, Odesa) are traced, as well as exhibitions and events that are crucial for our understanding of the ties between Poland and Ukraine. It is proved that because of the emergence of new artistic societies, museums, and the growing role of art schools, Kyiv has become the professional platform where new generations of Polish artists have asserted themselves. The article also traces the impact of Ukrainian and Polish culture on the emergence of new phenomena in European art of the late 19th — early 20th century.
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Shelach-Lavi, Gideon. "Archaeology and politics in China: Historical paradigm and identity construction in museum exhibitions". China Information 33, n.º 1 (11 de mayo de 2018): 23–45. http://dx.doi.org/10.1177/0920203x18774029.
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In China, as in many other modern and contemporary states, the past is often used to inform public opinions and legitimate the political regime. This article examines two examples of archaeological exhibitions in China: at the National Museum of China (中国国家博物馆) in Beijing and the Liaoning Provincial Museum (辽宁省博物馆) in Shenyang. It discusses the development and change over time in the content of these archaeological exhibitions, the way they were organized and presented to the public, and the explanations that accompanied the prehistoric artefacts. I argue that the way the past, and in particular the distant, prehistoric and proto-historic past, is presented in Chinese museums reveals a process of entrenchment of the standardized narrative of Chinese history, with a powerful sense of connection and continuity between the past, no matter how distant, and the present. I also argue that although the general outline of the historical trajectory of the ‘Chinese civilization’ is universally accepted, small variations in the way it is presented and the different emphases of the two exhibitions can inform us about various ways of constructing local and national identities in China during the 20th century and up to the current time.
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Rusakov, Serhii. "Establishment of the Art Market in the Context of Ukrainian Historical and Cultural Tradition". Studia Warmińskie 59 (31 de diciembre de 2022): 111–24. http://dx.doi.org/10.31648/sw.8330.
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The origins of the art market in Ukraine are analyzed on the basis of the life of artists, art exhibitions, art salons and creative circles of the 17th - early 20th centuries. The author researches the socio-cultural processes of different periods of Ukrainian culture that influenced the phenomenon of the art market, in particular its educational and commercial aspects. The peculiarity of the art market in Ukraine is connected with the popularization of young Ukrainian artists, the creation of favorable conditions for the realization of their talent, the unification of artistic forces from different Ukrainian regions and on. The art market is considered as a value-semantic space, where works of art are circulated, thanks to which new ideas emerge in the Ukrainian cultural space. The author uses the cultural-historical method, which allows to analyze, describe and generalize the patterns of origin, formation and development of the art market as an important component of socio-cultural evolution of Ukrainian culture. The important role of patronage, which contributed to the development of the Ukrainian art market, is considered. The origin and development of art exhibitions, which gained popularity in the 19th century, despite the long-standing tradition of exhibition activities in Ukraine, are studied. Mobile art exhibitions became a unique phenomenon, which determined the main trend in the fine arts of the last third of the 19th century. The activities of the Taras Shevchenko Scientific Society, which contributed to the creation of a portrait gallery – the largest project related to the fine arts, headed by M. Hrushevsky – are reviewed separately. The author emphasizes that the activities of progressive Ukrainian of art contributed to the creation of many artistic associations, which played an important role in promoting the works of Ukrainian artists, awakening public interest in art.
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MAMONTOVA, O. S. "ETHNOGRAPHIC SUBJECT IN EXHIBITION ACTIVITIES ALTAI STATE MUSEUM OF LOCAL LORE IN 2023". Field studies in the Upper Ob, Irtysh and Altai (archeology, ethnography, oral history and museology) 18, n.º 1 (2023): 254–63. http://dx.doi.org/10.37386/2687-0584-2023-18-254-263.
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Using the example of two temporary exhibition projects of the Altai State Museum of Local Lore, the place of ethnographic materials in the exhibition activities of the museum is considered. Today, a significant part of ethnographic objects is taken into account not only as part of the ethnographic collection, but also in the historical and household collection and the collection of decorative and applied arts, which is due to errors in the museum accounting system in the 20th century. Despite this, relying on the concept of «ethnographic object» formulated by A. V. Konovalov and E. Ya. Timofeeva, AGKM employees actively use ethnographic materials in the construction of exhibitions on various subjects using collection (systematic), museum-shaped, ensemble, illustrative and thematic methods
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Greenwold, Diana. "“The Great Palace of American Civilization”: Allen Eaton’s Arts and Crafts of the Homelands, 1919-1932". Contemporaneity: Historical Presence in Visual Culture 3 (5 de junio de 2014): 98–116. http://dx.doi.org/10.5195/contemp.2014.56.
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Allen Eaton’s Arts and Crafts of the Homelands exhibition premiered in Buffalo, New York in 1919, where it drew record crowds to the Albright Gallery. Iterations of the display soon opened in Albany, Rochester, and then in several other cities across the United States. Arts and Crafts of the Homelands showcased European craftwork of local immigrant groups to celebrate a model of early twentieth-century American pluralism. This article examines the aims of exhibit organizers, immigrant presenters, and native-born visitors to these exhibitions. The structure of the displays—which highlighted domestic tableaux of old-world objects—obfuscated the contemporary contributions of immigrant groups to American cultural and economic forums. I argue, however, that local groups took advantage of the exhibit’s performance spaces to assert their active presence in American public life.
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Cho, Hyojung. "The Decentralization of American Art Diplomacy in the Early and Mid-20th Century". Journal of Arts Management, Law, and Society 50, n.º 6 (1 de noviembre de 2020): 291–304. http://dx.doi.org/10.1080/10632921.2020.1845891.
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Fedotova, E. D. "Серия акварелей «Campi Phlegraei» английского мецената и итальянского художника века Просвещения". Iskusstvo Evrazii [The Art of Eurasia], n.º 1(20) (31 de marzo de 2021): 260–69. http://dx.doi.org/10.46748/arteuras.2021.01.018.
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The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. Статья посвящена серии акварелей «Campi Phlegraei», исполненной итальянским художником Пьетро Де Фабрисом (годы жизни не известны) во время научной экспедиции лорда Уильяма Гамильтона (1730–1803), посланника Великобритании, к кратеру Везувия. Оба они — художник и У. Гамильтон, меценат и коллекционер, увлеченно занимавшийся вулканологией, были яркими фигурами истории и культуры века Просвещения. Их сотрудничество является подтверждением научных и художественных достижений культуры Италии в век «просвещенного абсолютизма», когда в Королевстве обеих Сицилий правила династия испанских Бурбонов.
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Yartseva, O. A. "Коллекция Пегги Гуггенхайм". Iskusstvo Evrazii [The Art of Eurasia], n.º 1(20) (31 de marzo de 2021): 270–79. http://dx.doi.org/10.46748/arteuras.2021.01.019.
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The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. В фокусе внимания автора статьи — история создания уникального собрания произведений искусства ХХ века, принадлежавшего известной американской меценатке и куратору Пегги Гуггенхайм. На протяжении нескольких десятилетий она коллекционировала картины европейских кубистов, абстракционистов и сюрреалистов. Но самый значительный вклад в развитие и популяризацию модернизма она внесла, организовав в Нью-Йорке галерею «Искусство этого века», в которой впервые были проведены выставки художников, позже ставших классиками абстрактного экспрессионизма США, магистрального направления, громко заявившего о себе на международной художественной сцене и завоевавшего всемирное признание.
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Drosos, Nikolas. "Modernism and World Art, 1950–72". ARTMargins 8, n.º 2 (junio de 2019): 55–76. http://dx.doi.org/10.1162/artm_a_00235.
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Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.
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Krampen, Günter y Hans-Werner Wahl. "Geropsychology and Psychology in the Last Quarter of the 20th Century". European Psychologist 8, n.º 2 (enero de 2003): 87–91. http://dx.doi.org/10.1027//1016-9040.8.2.87.
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This paper presents bibliometrical results on the development of gerontopsychology in the last quarter of the 20th century. Analyses are based on the psychology literature documented in PsycINFO, covering mainly publications from the Anglo-American region, and PSYNDEX, covering publications from the German-speaking countries, for the years 1977 to 2000. Results show that both literature bodies on gerontopsychology have steadily grown, in absolute terms, since the beginning of the last quarter of the 20th century. The geropsychology literature in the German-speaking countries has grown faster than the Anglo-American literature. In terms of a relative frequency view, the findings support the notion that geropsychology has found a clear and stable position within psychology as a whole in both research communities, contributing 1-3% to the overall psychology literature and 8-15% (PsycINFO) respectively 30-50% (PSYNDEX) to the overall developmental psychology literature since 1978.
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Tsoumas, Johannis. "Traditional Japanese pottery and its influence on the American mid 20th century ceramic art". Matèria. Revista internacional d'Art, n.º 18-19 (16 de septiembre de 2021): 139–53. http://dx.doi.org/10.1344/materia2021.18-19.6.
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The Japanese ceramic tradition that was to emerge along with other forms of traditional crafts through the Mingei Movement during the interwar period, as a form of reaction to the barbaric and expansive industrialization that swept Japan from the late nineteenth century, brought to light the traditional, moral, philosophical, functional, technical and aesthetic values that had begun to eliminate. Great Japanese artists, art critics and ceramists, such as Soetsu Yanagi and Shōji Hamada, as well as the emblematic personality of the English potter Bernard Leach, after caring for the revival of Japanese pottery, believed that they should disseminate the philosophy of traditional Japanese pottery around the world and especially in the post-war U.S.A. where it found a significant response from great American potters and clay artists, but also from the educational system of the country. This article aims to focus precisely on the significant influence that postwar American ceramic art received from traditional Japanese pottery ideals. The author in order to document the reasons for this new order of things, will study and analyze the work of important American potters and ceramic artists of the time, and will highlight the social, philosophical and cultural context of the time in which the whole endeavor took place.
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Ştefănescu, Mircea. "The Beginnings of The Modern Art". Review of Artistic Education 18, n.º 1 (1 de marzo de 2019): 255–61. http://dx.doi.org/10.2478/rae-2019-0028.
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Abstract At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.
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Lanzarini, Orietta y Emanuela Ferretti. "Una nuova idea di museo tra passato e futuro". Opus Incertum 9 (13 de diciembre de 2023): 8–15. http://dx.doi.org/10.36253/opus-14836.
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The Madrid Conference of 1934 sanctioned the affirmation of a new idea of the museum with an enhanced educational and social scope, which was shared internationally. The main objective of the reform, already underway in the first decades of the 20th century, was to enable the general public entering museums to understand the value of history, of the arts and of sciences in the ‘construction’ of the present. This process of profound transformations involves various design and theoretical concerns, which are explored in this issue of the Journal in three sections and in a photo album. The first section highlights the role of some of the decisive figures in the development of contemporary museography and then moves on to the theoretical debate and the relationship between exhibitions and museums. The second section focuses on education and communication, both within the museum and in the development of methodologies for designing its spaces. Finally, the third part investigates the museum from a formal and functional point of view. The volume closes with a photographic ‘story’ of the evolution of some of the Uffizi’s most important exhibitions and a tribute to the memory of Delfín Rodríguez Ruiz.
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Blue, Ethan. "National Vitality, Migrant Abjection, and Coercive Mobility: The Biopolitical History of American Deportation". Leonardo 48, n.º 3 (junio de 2015): 268–69. http://dx.doi.org/10.1162/leon_a_01027.
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The United States has one of the world’s most extensive systems of mass removal. Its historical roots draw on 19th century biopolitical traditions of border control and internal anti-immigrant policing. In the early 20th century, rail technologies enabled an economical assemblage of steel and law, of racism and politics, attempting national purification by expelling ‘undesirable aliens.’ The process differentiated between the categories of privileged citizenship and abject alienage. The possibilities of national cleansing through deportation allowed new modes of sovereign governance, defined territories, and controlled populations—foundational aspects of modern nationhood.
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Gordon, John Stuart. "Modernism in American Silver: 20th-century Design. Jewel Stern , Kevin W. Tucker , Charles L. Venable". Studies in the Decorative Arts 14, n.º 1 (octubre de 2006): 121–23. http://dx.doi.org/10.1086/studdecoarts.14.1.40663293.
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Rozalski, Maciej. "Utopia of the Other". Conexión, n.º 17 (27 de julio de 2022): 19–59. http://dx.doi.org/10.18800/conexion.202201.001.
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The text deals with ideas and projects in culture and arts, especially visual arts and performingarts in Brazil aimed at the construction of identity through post-colonial resistance mixed with the modernist utopias of the 20th century. South America, freeing itself from the oppression of the colonial era, had to redefine its national and cultural identity. The utopianbeliefof meeting the Other, the representative of traditional cultures as the bearer of renewal characterizes the search of many artists and thinkers of the 20th century. The experiences of Brazilian modernism, tropicalism, andBrazilian performance bring their version of this perspective, thefigure of the American Indians in various ways. Brazilian art of the 20th century using the concept of symbolic anthropophagy wants to devour Europe. But as contemporary decolonial studies show, Brazilian modernism, transforming the Indian into a rhetorical and aesthetic figure, ends up in this way devouring its own indigenous people. The decolonial concepts and finally the contemporary Amerindian perspective bring their own answer, deconstructing and exposing hidden prejudices of Brazilian culture
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Gable, Eric. "Celebrating Ethnicity and Nation: American Festive Culture from the Revolution to the Early 20th Century.:Celebrating Ethnicity and Nation: American Festive Culture from the Revolution to the Early 20th Century." American Anthropologist 105, n.º 2 (junio de 2003): 423–25. http://dx.doi.org/10.1525/aa.2003.105.2.423.
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Urgola, Stephen y Maissan Hassan. "Women's Collections in Egypt: Insights into the American University in Cairo's Rare Books and Special Collections Library and the Women and Memory Forum's Archives". Collections: A Journal for Museum and Archives Professionals 14, n.º 3 (septiembre de 2018): 315–29. http://dx.doi.org/10.1177/155019061801400308.
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Two institutions of relatively small size play a major role in documenting women's history in Egypt: the Rare Books and Special Collections Library (RBSCL) of the American University in Cairo (AUC) and the Women and Memory Forum (WMF), a feminist research center in Cairo. This article presents case studies of these institutions’ efforts. The AUC RBSCL's collections are described, including those of leading 20th-century feminist leaders Huda Sharaawi (1879-1947), Doria Shafik (1908-1975), and Aziza Hussein (1919-2015), as are oral history initiatives related to women's history. The article also discusses programs and collections of the WMF, including private papers collections such as that of activist Wedad Mitri (1927-2007), and its Archive of Women's Oral History, which documents women's lives in Egypt and beyond. The initiatives in Egypt of the RBSCL and the WMF indicate how institutions can employ archival collecting, oral history, and outreach-like exhibitions to document and highlight women's historical contributions.
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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries". Journal of Flm Arts and Film Studies 7, n.º 2 (15 de junio de 2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.
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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibitions were arranged with active northern painters participation. The Russian interest in the art of Scandinavian countries in the late 19th - early 20th c. was anything but accidental. The development of artistic culture in Nordic countries was in tune with the Russian artists quest for other ways of creative expression. Northern culture attracted sympathy of Russian painters, black-and-white artists and art critics of diverse, often opposing groups and movements. For example, among the admirers of Scandinavian fine arts were V.V. Stasov and A.N. Benoit, I.E. Repin, V.A. Serov, F.A.Malyavin, the artists of the "Mir iskusstva group, and representatives of Moscow School of Painting (K. Korovin, A. Arkhipov, V. Perepletchikov etc.). By mid-1890s relations of Russian and Scandinavian art schools had become very intense and productive. This interaction coincided with significant events that influenced further development of artistic and other forms of culture on both sides. It manifested itself in publications of works of A. Strinberg and K. Hamsun in Russian, in staging of H. Ibsens plays at the Moscow Art Theater, exhibitions (especially of A.Tsorns works), and other activities that served to cross-fertilisation of cultures of Russia and Scandinavian countries.
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Adamska, Katarzyna. "An Apartment as a National Issue: On the Exhibitions of the Polish Applied Art Society at the Zachęta Gallery in 1902 and 1908". Ikonotheka 26 (26 de junio de 2017): 7–29. http://dx.doi.org/10.5604/01.3001.0010.1671.
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Towarzystwo Polska Sztuka Stosowana (TPSS) organised two exhibitions at the Zachęta Gallery. Their aim was to shape the national culture of living and to propagate ornamental design inspired by indigenous motifs. The 1902 exposition was arranged in accordance with the traditional perception of arts and crafts, which disregarded their function and construction in favour of the external form. New critical categories, borrowed from the language of functionalism and from ideas regarding living space as developed by the German Kunstgewerbe circles, induced the members of the TPSS to arrange their 1908 exhibition differently – as fully designed interiors rather than groups of independent items. Similar changes were then observed in the of shop-window design and in commercial expositions. The fact that they were explicated in terms of ethics reveals a combination of consumerism, aesthetics and morality characteristic of the early 20th century.
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Vignioli, Marcela. "Lola Mora in Tucumán: Personal Costs and Benefits of Creating Public Art, 1890-1904". Ameryka Łacińska Kwartalnik analityczno-informacyjny, n.º 116 (30 de junio de 2022): 89–104. http://dx.doi.org/10.7311/20811152.2022.116.06.
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From a traditional perspective, women who have triumphed in the arts, literature, or science have been seen as an anomaly or “exceptional women” by historians. In 1895, only a third of girls under 14 could read in the small provincial town of Tucuman, in northern Argentina. However, Lola Mora displayed her sculptures in her first exhibitions in the same year. Her career as a sculptor was legitimized and recognized in her hometown Argentina, after spending years in Europe developing her talent. Her career as an artist has historically been seen as a distinct rarity, and few people have attempted to provide an explanation or contextualization for her success as an artist at the turn of the 20th century. In this article, I propose an analysis of the methods that Lola Mora used to legitimize her art and establish herself professionally. I would like to draw attention to Lola Mora’s conscious decision to contradict the contemporary ideals of patriotism and politics as themes in her art; her sculptures were physical manifestations of her feelings on the contentious aforementioned subjects. Lola Mora realigned her focus on the intricacies of provincial and national politics during the 1890s, but she did not abandon her art. Her career has been interpreted as a radical deviation from the lives that women conducted publicly in the 20th century.
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Stepovaya, Valeriya I. "Nikolai Gogol’s Comedy The Government Inspector in American Translations of the First Third of the 20th Century". Imagologiya i komparativistika, n.º 16 (2021): 84–102. http://dx.doi.org/10.17223/24099554/16/6.
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The article focuses on N.V. Gogol’s comedy The Government Inspector in American translations of the first third of the 20th century to identify different renditions and semantic transformations of the play in the context of American culture. The author employs comparative, contextual, and content analysis to analyse three American translations: 1) by Max Solomon Mandell in 1908; 2) by Thomas Seltzer in 1916; 3) by George Rapall Noyes and John Lawrence Seymour in 1933.The analysis has shown that M. Mandell’s translation contains the greatest number of transformations, being adapted to the needs of the American theatre. The changes reduce the significant typical characteristics of Russian characters and emphasize their depravity. Having become more “American” in this translation, the comedy reflects American cultural and social processes: the religion-based struggle between the “genteel tradition” and realism in the literature of the early 20th century and the emerging critical attitude to the bourgeois reality. Thus, M. Mandell’s translation can be considered as preserving Gogol’s ambivalent understanding of the play, related to both the satirical origin and spiritual meaning. The changes in T. Seltzer’s translation are less significant. T. Seltzer partly explains them, revealing his socialist sympathies in the preface. T. Seltzer confirms that his translation is to demonstrate the disadvantages of the bourgeois social system, which sheds light on other transformations. However, despite his own views, T. Seltzer is aware that Gogol’s attitudes were different. These signals can be found in the translated text as well as in the preface, which makes the message of the translation less radical. The third translation is the most accurate. Having no interest in politics, D. Noyes, together with his student and colleague D. Seymour, creates a philological translation that is close to the original and allows for various renditions. This version reflects the gradual transition to the translation as an object of academic research. However, all the translations under analysis employ domesticating strategies, which reduces the significance of the source languages cultural backgrounds. The choice of strategy was determined by the ideology of American imperialism in the USA. Thus, each translation reflects, on the one hand, the socio-political and cultural situation of the USA in the first third of the 20th century, and, on the other, translators’ personalities.
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Anderson, C. W. "Social survey reportage: Context, narrative, and information visualization in early 20th century American journalism". Journalism 18, n.º 1 (20 de agosto de 2016): 81–100. http://dx.doi.org/10.1177/1464884916657527.
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This article takes a historical approach to the analysis of changes in the gathering and display of documents and data by journalists. It stands as an attempt to tease out the underlying epistemological changes implied by these transformations. The transition from the 19th to the 20th century would see the rise of the so-called survey movement, itself tied to the emergence of the progressive movement and concomitant with the growth of new techniques for collecting and visualizing social data. Alongside the emergence of the social survey, and oddly related to it in a number of intriguing ways, this time period would also see the invention of public relations as a technique of press management. To this end, this article chronicles the social movement known as the ‘Men and Religion Forward Movement’, discussing its pioneering combination of data collection, information display, and aggressive publicity strategies in service of the cause of social reform. The article examines the materiality of the Men and Religion Forward Movement’s information collection procedures, its charts, graphs, and other display devices, and the processes by which these ‘representations of the collective’ did or did not manifest themselves in newspaper coverage of the movement.
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Mou, Leping. "The Liberal Arts Curriculum in China’s Former Christian Universities". International Journal of Chinese Education 9, n.º 1 (17 de junio de 2020): 25–46. http://dx.doi.org/10.1163/22125868-12340118.
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Abstract In the first half of the 20th century, the Christian universities in China founded by North American missionaries made a great contribution to China’s higher education development and set models for other universities. These universities adapted the American liberal arts education into Chinese contexts with a completely different social and cultural tradition. The paper explores the concept and essence of liberal arts education as reflected in the curriculum of the Christian universities through a qualitative methodology employing archival document analysis. The study brings insights for today’s trend towards reviving liberal arts education in China’s elite universities as a way of countering the influence of utilitarianism and neo-liberalism in an era of economic globalization.