Bibliographies thématiques / XX Century Art

Littérature scientifique sur le sujet « XX Century Art »

Auteur : Grafiati

Publié le 10 mars 2023

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Articles de revues sur le sujet "XX Century Art"

Boyko, Olga A. « ARCHETYPE OF « SHADOW» IN THE ART OF XX CENTURY ». Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n^o 23(3) (1 septembre 2016) : 15–23. http://dx.doi.org/10.17223/22220836/23/2.

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He, Xing. « Chinoiserie in Russian culture before XX century ». World of Russian-speaking countries 4, n^o 10 (2021) : 127–41. http://dx.doi.org/10.20323/2658-7866-2021-4-10-127-141.

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The article deals with the content and meaning of the Chinoiserie art style, which appeared in Europe in the 17th century and is based on traditional Chinese culture. It has distinct Chinese features and reflects a lot of Chinese elements. Chinoiserie still has a great influence on world culture in various spheres of art. The main focus is on the formation and spread of chinoiserie in Russia, which was related to the beginning of the Enlightenment era, the development of Chinese-Russian trade, and the published works on sinology that appeared at that time. In addition, the geographical proximity of the two countries is also considered a major factor in the spread of chinoiserie in Russia. There are several stages in the existence and evolution of chinoiserie in Russia: the era of Emperor Peter the Great (18th century), when elements of Chinese architecture, sculpture, art, clothing, decor and ornaments, household items and utensils appeared. At the same time there also appeared imitations of Russian masters of Chinese decorative and applied arts. During this period of time, ordinary people are also introduced to Chinese items and products, such as cotton cloth, silk, porcelain, tea, rhubarb, etc., which are now an integral part of life in Russia. The next era of introducing Chinese culture is the 19th century. It is connected with the spread of international relations and political ties. But chinoiserie evolution at this time was no longer as rapid and multifaceted as it had been a century earlier. The author concludes that chinoiserie reached its peak in Russia in the XVIII century, gradually began to decline in the XIX century, but in the XX century and nowadays it is becoming popular again.

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Sherbayevna, Shukurova Lobar. « Bukhara Applied Art In Middle Of XVIII - Early XX Century, During The Mangit Dynasty ». American Journal of Applied sciences 02, n^o 12 (31 décembre 2020) : 156–59. http://dx.doi.org/10.37547/tajas/volume02issue12-24.

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In the article stressed about some features of Bukhara's applied art in the middle of the 18th - early 20th centuries. Art historians and historians have cited the scientific views of some scholars on the development of folk applied art in these periods.

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Demchenko, Aleksandr Ivanovich. « The Russian Musical Art of the Early XX Century : FOLC ». Manuskript, n^o 11 (octobre 2021) : 2231–37. http://dx.doi.org/10.30853/mns210409.

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Demchenko, Aleksandr Ivanovich. « The Russian Musical Art of the Early XX Century : Preamble ». Manuskript, n^o 9 (mars 2021) : 1757–59. http://dx.doi.org/10.30853/mns210341.

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Demchenko, Aleksandr Ivanovich. « The Russian Musical Art of the Early XX Century : Poles ». Manuskript, n^o 10 (mars 2021) : 2003–12. http://dx.doi.org/10.30853/mns210393.

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Demchenko, Aleksandr Ivanovich. « The Russian Musical Art of the Early XX Century : Paganism ». Manuskript, n^o 2 (février 2022) : 58–66. http://dx.doi.org/10.30853/mns20230008.

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Udris, I. « THE CONCEPT OF THE HISTORY OF ANCIENT UKRAINIAN ART IN THE CONTEXT OF DEVELOPMENT ARCHAEOLOGICAL SCIENCE LATE XIX - EARLY XX CENTURY ». Educational Dimension 13 (26 mai 2022) : 242–54. http://dx.doi.org/10.31812/educdim.5771.

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Becoming of conception of history of ancient Kiev's art in the context of elaboration of archaeological science at end of the XIX and beginning of the XX century. In the article is explained the problem of becoming of scientific conception of history of domestic art. The publications are examined on the indicated problem of leading specialists of that epoch in Labours o f archaeological conventions at end of the XIX and beginning of the XX century as an information base for explaining of historiogyraphy questions in researches of different aspects of history o f the Ukrainian art.

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Pylypchuk, V. V. « BANDURA ART OF THE EARLY XX CENTURY AND ITS FEATURES ». Innovate Pedagogy 2, n^o 43 (2022) : 85–88. http://dx.doi.org/10.32843/2663-6085/2022/43/2.17.

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Ковальова, М. М., et Цю Чжуанюй. « ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ ». Art and Design, n^o 3 (13 novembre 2020) : 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.

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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.

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Thèses sur le sujet "XX Century Art"

Statulevičiūtė-Kaučikienė, Rūta. « Iconography of Lithuanian architecture in the second part of the XIX century – in the first part of the XX century : art documentary aspect ». Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090316_093122-52107.

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Architecture iconography is one of the most important sources of the architecture history. It shows changing of the towns and buildings, opens cities panoramas still unchanged by urbanization and presents no longer existing constructions. What percent of truth and what percent of artist imagination is in these townscapes and portraits of the buildings? In the text it is attempted to answer these questions by analyzing Lithuania architecture views of the second part of the XIXth century- the first part of the XXth century. Evolution of veduta in West Europe and Lithuania is presented in the first part of the dissertation. The most important creators of veduta and the essential bonds of the European townscapes and Lithuanian art are excluded. The birth of veduta and its popularity in Lithuania are reviewed. It is attempted to search for ideological and historical basement of this creation also. Comprehensive formal, comparative and semantic analysis of the documental and imaginative iconography ere given. It is trying to establish the documentary value, correspondence to real architectural view, of the views by requesting these instruments. Field investigation, old photography, and written sources were used for analysis. Imaginative architecture views are treating like retrospective searches of ideal city (and are linked with ideal landscape) or like artistic reconstruction suggestions. The possibilities and probabilities of these retrospective views are valuating, analogues... [to full text]
Architektūros ikonografija – vienas svarbiausių architektūros istorijos šaltinių, atskleidžiantis miestų ir atskirų pastatų kaitą, atveriantis urbanizacijos dar nepakeistas miestų panoramas ir pristatantis nebeegzistuojančius statinius. Kiek grafikos ir tapybos technikomis sukurtuose architektūriniuose peizažuose ir pastatų „portretuose“ tiesos ir kiek pačių kūrėjų išmonės? Ar išties piešti ir tapyti atvaizdai gali būti patikimi istorijos šaltiniai? Į šiuos klausimus ir stengiamasi atsakyti analizuojant XIX a. II p.-XX a. I p. Lietuvos architektūros vaizdus. Pirmuosiuose disertacijos skyriuose chronologiškai pateikiama vedutos raida Vakarų Europoje ir Lietuvoje, išskiriami svarbiausi kūrėjai ir esminiai architektūrinio peizažo saitai su mūsų šalies daile; apžvelgiamas vedutos atsiradimas ir išpopuliarėjimas Lietuvoje, ieškoma ideologinių ir istorinių tokios kūrybos atramų. Darbe pateikiamos išsamios dokumentiškų ir imaginacinių ikonografinių vaizdų formaliosios, lyginamosios ir semantinės analizės. Pasitelkus šiuos įrankius stengiamasi nustatyti grafikos ir tapybos darbuose užfiksuotų vaizdų dokumentiškumą – detalumą ir atitikimą realiam architektūros vaizdui. Analizei naudojamas tyrimai natūroje, senosios fotografijos ir rašytiniai šaltiniai. Į imaginacines rekonstrukcijas žvelgiama kaip į retrospektyvines idealiojo miesto paieškas (siejama su idiliniu peizažu) ir meninius rekonstrukcinius pasiūlymus. Abiem atvejais vertinama atkurto/sukurto vaizdo galimumas, ieškoma... [toliau žr. visą tekstą]

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Andriolo, Arley. « Traços primitivos : histórias do outro lado da arte no século XX ». Universidade de São Paulo, 2004. http://www.teses.usp.br/teses/disponiveis/47/47134/tde-10092018-145914/.

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Este estudo objetiva narrar uma história de obras produzidas por membros das classes populares, reconhecidas por meio de sua individualidade e inventividade, enfocando sua produção e sua recepção no Brasil, entre 1880 e 1990. A abordagem estética e histórica orientada pela fenomenologia foi realizada segundo o método micro-histórico, conduzido pela idéia de \"primitivo\". Os fragmentos das biografias e as imagens evocadas foram cruzados com os discursos de seus intérpretes que formularam designações como: \"arte primitiva\", \"arte psicopatológica\", \"arte bruta\", \"outsider art\", \"arte virgem\" e \"arte incomum\". No horizonte histórico da cultura brasileira abriram-se duas vias principais de interpretação: uma derivada do cientificismo do discurso psiquiátrico e outra do romantismo do discurso acerca da cultura popular. Não obstante a contribuição da noção francesa de Art Brut para questionar essas duas vias, a complexidade da produção artística brasileira solicita uma análise particular que revele o \"primitivo\" em suas ambigüidades
This study aims to narrate a history of art works produced by members of popular classes, recognized by its individuality and inventivety, focusing in the production and reception in Brazil between 1880 and 1990. The aesthetic and historic approaches was oriented by phenomenology followed the micro-historic method, guided by the idea of \"primitive\". The fragments of the biographies and evoked images were crossed with the discourse of its interpreters, that proposed designations as such: \"primitive art\", \"psychopathological art\", \"art brut\", \"outsider art\", \"uncommon art\" and \"virginal art\". In the historical context of the Brazilian culture two principal ways of interpretation were opened: one of them is derivated from the scientificism of the psychiatric discourse and the other from the romantic discourse about the popular culture. Nevertheless the contribution of the french notion of Art Brut to question these ways, the complexity of the Brazilian artistic production impose a particular analyses that reveals the \"primitive\" in its ambiguity

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Mussoi, Aniely Cristina 1988. « Desmaterialização e Artes do Vazio no século XX : uma análise semiótica / ». São Paulo, 2019. http://hdl.handle.net/11449/182503.

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Orientador(a): Omar Khouri
Banca: Elaine da Graca de Paula Caramella
Banca: Jose Leonardo do Nascimento
Resumo: Partindo da desmaterialização observada nas artes do século XX por Lucy Lippard, isto é, da perda de interesse dos artistas na evolução física do trabalho de arte, assumo como objeto de estudos um subgrupo de tal fenômeno, distinto por visar à desmaterialização completa como o próprio objeto artístico. Tais propostas, aqui denominadas "Artes do Vazio", desafiam nossa compreensão e dificultam sua caracterização por não resultarem em materialidade física na sua exibição. Neste trabalho, ofereço uma interpretação semiótica e uma resposta aos seus desafios. No primeiro capítulo, abordarei seu contexto de desenvolvimento e sua diversidade através do século XX, ao qual acompanha, simultaneamente, o desenvolvimento de algumas hipóteses interpretativas. Estas, por sua vez, serão analisadas em seus alcances e limites no segundo capítulo. Já o terceiro visa a uma interpretação dos dilemas que as artes do vazio apresentam por contrariarem alguns pressupostos comuns a toda obra de arte, o que as coloca sob o risco de um relativismo em sua interpretação. Para tal, será apresentada a teoria semiótica de Charles S. Peirce, que, articulada à sua fenomenologia e ao seu realismo, mostrar-se-á frutífera na construção de um argumento que oferece uma resposta a tais dilemas. Neste ponto, serão esclarecidos os papeis tomados por alguns elementos necessários à cadeia semiótica de uma obra do vazio, e.g., os elementos contextuais de apresentação artística e o impacto de uma quebra de expectativa na... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Starting from Lucy Lippard's observation of the dematerialization of arts in the twentieth century, that is, of the artists' loss of interest in the physical evolution of the artwork, I take as an object of study a subclass of such phenomenon, distinguished by taking the complete dematerialization as the artistic object itself. These artistic proposals, here labeled as "Emptiness Arts", challenge our comprehension and characterization as they are not materially constituted in their exhibition. In this work, I offer a semiotic interpretation and an answer to these challenges. In the chapter 1, I'll restate its historical development and diversity throughout the twentieth century, and simultaneously offer some interpretative hypothesis. These will be properly discussed and analyzed, in their strengths and weakness, in the chapter 2. Then, chapter 3 will offer a separate interpretation for the dilemmas that emptiness arts offer to our comprehension, as they tend to deny some basic suppositions about the art phenomena, one that could put their interpretations into relativistic risk. For such, the semiotic theory of Charles S. Peirce will be presented. This theory, together with his phenomenology and realistic approach, will show itself fruitful in putting together an answer to such dilemmas. In this point, the roles that some constitutive elements play in a semiotic chain involving an emptiness art will be clarified, e.g., the contextual elements of an artistic show and the... (Complete abstract click electronic access below)
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Scheibe, Marit 1976. « Thinking being an artist : a lousa como objeto artístico na obra de Joseph Beuys / ». São Paulo, 2017. http://hdl.handle.net/11449/153968.

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Orientador(a): José Paiani Spaniol
Banca: Sérgio Romagnolo
Banca: Marco Garaude Giannotti
Resumo: Esta dissertação enfoca a Lousa como objeto artístico na obra de Joseph Beuys, procurando uma aproximação com o observador, captando seu interesse na direção dos caminhos sensíveis propostos pelos rabiscos. Pretende conduzir a sensibilidade do espectador para expandir a vivência de valores humanistas. Como suporte, revela-nos o empenho do artista por uma arte viva. A pesquisa se oferece como um fio condutor a quem se interessa pela ampliação do conceito de arte, e, ao mesmo tempo, se propõe a evidenciar, através do mergulho em alguns símbolos, as direções e paisagens do pensamento do artista
Abstract: The present study focuses on the Blackboard as an artistic object in the work of Joseph Beuys and aimes an aproximation with the observer. It wants to capture the interest of the spectator for the sensible paths proposed by the scribbles. It intends to drive the sensitivity of the spectator in order to expand the experience of humanistic values. As a support, the blackboard reveals the artist's commitment to a living art, to life. The research offers itself as a guiding thread to those who are interested in the expansion of the concept of art. At the same time, it aims to evidence, through an immersion in some symbols, the directions and landscapes of the artist's thought
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Silva, Maria do Carmo Couto da. « Rodolfo Bernardelli, escultor moderno = análise da produção artítica e de sua atuação entre a Monarquia e a República ». [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280542.

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Orientador: Luciano Migliaccio
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Nossa tese de doutorado tem por objetivo contribuir para 0 conhecimento acerca da historia da arte brasileira do final do século XIX e começo do XX, por meio da analise de obras e dos momentos que marcaram a trajetória do escultor Rodolfo Bernardelli (1852-1931). O jovem aluno da Academia Imperial de Belas Artes começa a ganhar destaque no cenário das artes nacionais a partir da sua participação nas Exposições Gerais de Belas Artes, na década de 1870. Apos um período de estudo na Europa, o artista retornou ao Brasil em 1885 e por seus trabalhos realizados no exterior, foi denominado pela critica como artista moderno, recebendo as principais encomendas monumentais da época. Bernardelli foi o principal escultor da primeira década republicana no Brasil e Primeira Republica e atuou como diretor da Escola Nacional de Belas Artes - ENBA, por cerca de 25 anos.
Abstract: Our aim in this thesis is to contribute to the knowledge of the history of Brazilian Art between the end of the 19th century and the beginning of the 20th century through the study of the works and the life moments of the sculptor Rodolfo Bernardelli (1852-1931). The young pupil of the Imperial Academy of Fine Arts begun to gain attention from the national art realm after his participations, along the 187 O's, at General Fine Arts Exhibitions. In 1885, after a period of studies in Europe, the artist returned to Brazil and was then acclaimed as a modern artist by the critics because of the pieces produced abroad. He then received the main monumental commissions of the period. Bernardelli was the main sculptor of Brazil during the first decade of the Republic and was the director of the National School of Fine Arts - ENBA, during almost 25 years.
Doutorado
Historia da Arte
Doutor em História

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D'Alessandro, Eliana Angélica Péres. « Visualidade e história em Guernica / ». São Paulo, 2006. http://hdl.handle.net/11449/100274.

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Orientador: Claudete Ribeiro
Resumo: Este trabalho tem como princípio básico estudar alguns aspectos da visualidade da obra Guernica, de Picasso, indicando uma relação de significados que vão compor a gramática do pensamento visual deste artista , descrita numa análise de alguns dos esboços para a confecção do mural, utilizando como base científica os estudos gestálticos de Arnheim. Ainda estão incluídas nesta abordagem algumas breves considerações sobre a atualidade da obra através da presença de sua imagem nos meios multimidiáticos nos últimos dois anos. Apesar de ter a visualidade da própria obra como foco central, os aspectos ligados a vida pessoal do artista e os acontecimentos históricos pelos quais passava a Europa na ocasião da pintura do mural serão abordados, por serem, em minha opinião, de suma importância, nos levando a ampliar a compreensão do universo simbólico e dos sentimentos que Picasso poderia estar vivenciando naquela época, contribuindo no entendimento por exemplo, dos possíveis motivos da documentação da obra em nove fotografias que foi feita por Dora Maar, sua amante na ocasião. Deste modo, esta dissertação oferece aos interessados na obra Guernica uma nova reflexão acerca de sua imagem e aos interessados na vida de Picasso uma visão da ligação entre sua vida e esta que foi uma das mais simbólicas do conjunto de sua obra.
Abstract: Este trabajo tiene como principio básico estudiar algunos aspectos de la visualidad de la obra Guernica, de Picasso, indicando una relación de significados que van a componer la gramática del pensamiento visual de este artista, descrita en un análisis de algunos de los bocetos para la confección del mural, utilizando como base científica los estudios gestálticos de Arnheim. Están incluidas también en este abordaje algunas breves consideraciones sobre la actualidad de la obra a través de la presencia de su imagen en los medios multimediáticos en los últimos años. A pesar de tener la visualidad de la propia obra como foco central, los aspectos conectados a la vida personal del artista y los acontecimientos históricos por los cuáles pasaba Europa en la ocasión de la pintura del mural serán abordados , por ser, en mi opinión, de suma importancia, llevándonos a ampliar la comprensión del universo simbólico y de los sentimientos que Picasso podría estar vivenciando en aquella época, contribuyendo en la comprensión por ejemplo, de los posibles motivos de la documentación de la obra en nueve fotografías realizada por Dora Maar, su amante en el momento. De este modo, esta disertación ofrece a los interesados en la obra Guernica una nueva reflexión acerca de su imagen y a los interesados en la vida de Picasso una visión de la conexión entre su vida y la que fue una de las más simbólicas del conjunto de su obra.
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Abuhab, Flávio Antonio 1957. « A arte não esquece a arte : aproximação : apropriação e citação em arte / ». São Paulo, 2013. http://hdl.handle.net/11449/86973.

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Orientador: José Paiani Spaniol
Banca: Agnus Valente
Banca: Marcos Rizolli
Resumo: Este texto é um relato sobre duas experiências realizadas durante minha permanência no Programa de Pós Graduacão do Instituto de Artes da Universida de Estadual Paulista, onde pude desenvolver dois trabalhos práticos e relacionados com disciplina ministrada por meu orientador: Práticas Contemporâneas da Instalação e Site Specific. No primeiro, um projeto de Site Specific tendo como referência as paisagens litorâneas do pintor Benedicto Calixto. Já no outro trabalho, uma Instalação apresentada na Galeria do Instituto de Artes e que homenageia o artista plástico Nelson Leirner. Ambos são resultado de minha pesquisa sobre apropriação, citação e autoria na arte, e estabelecendo conexões poéticas com a História da Arte.
Abstract: This paper is a report on two experiments performed during my stay in the graduate program of the Art Institute of São Paulo State University, where I developed two projects and related subject taught by my mentor: Contemporary Practices Installation and Site Specific. In the first, a draft site specific with reference to the landscapes coastal painter Benedicto Calixto. In the other work, an installation presented at the Institute of Arts Gallery and honors the artist Leirner. Both are the result of my research on ownership, citation and authorship in art, poetry and establishing connection with History of Art.
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Andrade, Eliana Lobo de [UNESP]. « VT Preparado : AC/JC : a videoarte de Walter Silveira ». Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127986.

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A proposta deste trabalho se centra na pesquisa das influências da poesia concreta na videoarte, especialmente no video VT Preparado:AC/JC, de autoria de Walter Silveira e Pedro Vieira. Não se trata, aqui, do vídeo como emissão televisiva ou em suas características técnicas, mas como possibilidade de expressão utilizada pelo artista. Como dois movimentos de vanguarda, a poesia concreta e a videoarte, estão presentes como fundamentos na obra citada, foco desta dissertação.
The proposal of this work is centered in research on the influences of concrete poetry upon video art, particularly in the VT Preparado: AC/JC video, by Walter Silveira and Pedro Vieira. The point here is neither the video as television emission, nor its technical features, but its possibilities of expression chosen by the artist. Concrete poetry and video art, both cutting edge movements are present as fundamentals of the above mentioned work, in which this dissertation is focused.

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Andrade, Eliana Lobo de 1950. « VT Preparado : AC/JC : a videoarte de Walter Silveira / ». São Paulo, 2015. http://hdl.handle.net/11449/127986.

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Acompanha DVD com o video VT Preparado:AC/JC, de autoria de Walter Silveira e Pedro Vieira
Orientador: Omar Khouri
Banca: José Leonardo do Nascimento
Banca: Neiva Pitta Kadota
Resumo: A proposta deste trabalho se centra na pesquisa das influências da poesia concreta na videoarte, especialmente no video "VT Preparado:AC/JC", de autoria de Walter Silveira e Pedro Vieira. Não se trata, aqui, do vídeo como emissão televisiva ou em suas características técnicas, mas como possibilidade de expressão utilizada pelo artista. Como dois movimentos de vanguarda, a poesia concreta e a videoarte, estão presentes como fundamentos na obra citada, foco desta dissertação.
Abstract: The proposal of this work is centered in research on the influences of concrete poetry upon video art, particularly in the "VT Preparado: AC/JC" video, by Walter Silveira and Pedro Vieira. The point here is neither the video as television emission, nor its technical features, but its possibilities of expression chosen by the artist. Concrete poetry and video art, both cutting edge movements are present as fundamentals of the above mentioned work, in which this dissertation is focused.
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Alves, Fabiola Cristina 1986. « Indivisibilidades entre natureza, homem e expressão artística : a reflexão estética de Merleau-Ponty / ». São Paulo, 2013. http://hdl.handle.net/11449/86891.

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Orientador: José Leonardo do Nascimento
Banca: Cauê Alves
Banca: Sérgio Mauro Romagnolo
Resumo: Esta dissertação investiga a noção de arte moderna presente na reflexão estética do filósofo Maurice Merleau-Ponty, partindo da hipótese de que tal noção está inclusa na meditação sobre as indivisibilidades entre a relação homem, natureza e expressão artística. Apresenta a concepção de arte e arte moderna concomitantemente à trajetória e ao discurso filosófico de Merleau-Ponty. Discorre sobre a tese do filósofo acerca do retorno ao mundo percebido, as indivisibilidades, o corpo vidente e visível, o sensível, a carne do mundo, a pintura, o Ser bruto, a Natureza, logos e a expressão. A partir desses temas, foram desenvolvidas leituras sobre os seguintes textos para dimensionar essa noção de arte moderna: "A dúvida de Cézanne", "A expressão e o desenho infantil", "A linguagem indireta", "A linguagem indireta e as vozes do silêncio" e "O olho e o espírito". Para compreender o pensamento de Merleau- Ponty aproximamos suas ideias a várias teorias da história e da filosofia da arte, a partir dos temas: o espírito moderno, as correspondências, a representação e a expressão. Por fim, destaca os principais valores e ideias que compõem a noção de arte moderna em Merleau- Ponty.
Abstract: This work investigates the notion of modern art in this aesthetic reflection of philosopher Maurice Merleau-Ponty, on the hypothesis that such a notion is included in the meditation about the indivisibilities on the relationship between man, nature and artistic expression. It presents the concept of art and modern art concomitantly to the trajectory and the philosophical discourse of Merleau-Ponty. This work also discuss the thesis of the philosopher about returning to the perceived world, the indivisibilities, the visible and invisible body, the sensitive, flesh of world, the painting, the Being, the Nature, the logos and the expression. On the themes, the following texts were studied to investigate the author's notion of modern art: "Cézanne's Doubt", "Expression and the child's drawing", "The indirect language", "The indirect language and the voices of silence" "Eye and mind". To comprehend Merleu-Ponty's ideas, his thought was related with various History and Art Philosophy theories, under the following themes: the modern mind, correspondence, representation and expression. At last, this work emphasizes the core values and ideas that make up the notion of modern art of Merleau-Ponty.
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Livres sur le sujet "XX Century Art"

A, Petrova E., et Gosudarstvennyĭ russkiĭ muzeĭ (Saint Petersburg, Russia), dir. Abstraction in Russia, XX century. St. Petersburg : Palace Editions, 2001.

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Otto, Breicha, et Kasser Art Foundation, dir. One hundred selected masterpieces : XIX/XX century. Montclair, N.J. (26 Park St., Montclair 07042) : Kasser Foundation, 1992.

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Gosudarstvennyĭ russkiĭ muzeĭ (Saint Petersburg, Russia), dir. Collage in Russia, XX century. St. Petersburg : Palace Editions, 2005.

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Gallery, Lefevre, dir. Important XIX & XX century works of art. London : Lefevre Gallery, 1997.

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Gallery, Lefevre, dir. Important XIX & XX century works of art. London : Lefevre Gallery, 1997.

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Gallery, Lefevre. Important XIX & XX century works of art. London : Lefevre Gallery, 1997.

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Gallery, Lefevre, dir. Important XIX & XX century works of art. London : Lefevre Gallery, 1985.

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Gallery, Lefevre, dir. Important XIX & XX century works of art. London : Lefevre Gallery, 1997.

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F, Constantini Eduardo, et Museo de Arte Latinoamericano de Buenos Aires., dir. Arte Latinoamericano siglo XX = : 20th century Latin American art. Buenos Aires : MALBA, Coleccíon, 2004.

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Éva, Ibos, dir. XIX-XX. századi magyar festészet : =XIX-XX. century Hungarian painting. Kisújszállás : Szalay Könyvek, 2007.

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Chapitres de livres sur le sujet "XX Century Art"

Luigini, Alessandro, et Starlight Vattano. « Actuality of Art Education at the Beginning of XX Century in East Europe. Graphic Constructions Through Gestaltung and Formenlehre in Figurative Creativities Teaching Pathways ». Dans Graphic Imprints, 1630–40. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93749-6_136.

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Romoli, Marco. « La nuova frontiera del viaggio : l’esplorazione del cosmo ». Dans Studi e saggi, 25–45. Florence : Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-467-0.04.

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The human drive for knowledge, together with the technology development, often accelerated by warfare, has opened new frontiers to exploration. Once the exploration of the Earth globe came to an end with the conquest of the geographical poles, of the high mountains, and the ocean deeps, mankind developed new attention to Space and the exploration of the Universe, not only by means of ground based telescopes, but with rockets, unmanned and manned satellites and spacecrafts. In the mid of XX century, the drivers are similar to those that pushed the Nations of XV century to discover the world: geopolitics strategies, hunger for resources and knowledge, conquer and adventure. We are just at the beginning. This is a brief overview of the Space Age history and of the present and future development.

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Mitrović, Marija. « Lik “jake žene” u srpskoj prozi prve polovine XX veka ». Dans Biblioteca di Studi Slavistici, 343–52. Florence : Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-723-8.28.

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A series of female characters living in small provincial centres, aware of their beauty and spirit, are present in the Serbian prose of the first half of the 20th century to a degree that might be striking to the contemporary reader. This paper examine the social, historical, anthropological and psychological characteristics of the leading female characters created by Stevan Sremac (Zona Zamfirova, 1903), Svetozar Ćorović (Majčina sultanija, 1906), Borisav Stanković (Nečista krv, 1910), Ivo Andrić (Anikina vremena, 1931).

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Semina, A. E. « Aesthetic education in the context of art paradigms of the XX century ». Dans The modern system of education : theory and practice, 206–23. Знание-М, 2020. http://dx.doi.org/10.38006/907345-24-9.2020.206.223.

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Duda, Larysa. « THEORETICAL AND PRACTICAL FUNDAMENTALS OF MUSICAL FOLKLORE PROCESSING IN THE WORKS OF DIASPORA ARTISTS ». Dans Art Spiritual Dimensions of Ukrainian Diaspora. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-8.

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The article analyzes the theoretical and practical principles of processing samples of folk music. Musical folklore is transformed in composition and performance, including for bandura, by arrangement and its varieties (harmonization, transposition, arrangement, improvisation, etc.). Musical folklore is an integral part of the bandura’s repertoire, presented in the form of vocal-instrumental and instrumental arrangements, as well as instrumental works for solo and ensemble performance. Authentic, classical and modern methods of music processing, as well as creative (author ‘s) and complex approaches are distinguished. The authentic method is inherent mainly in the art of kobzars-bandurists, who were the authors of dumas, historical and other songs and created them simultaneously with the bandura accompaniment. The classical method has been dominant since the second half of the XXth century up until now. The modern approach occurs mainly from the end of the XXth century. The transformation of folklore samples often consists in changing the genre of the original source, the environment of performance, the functional purpose of the work, the appearance of instrumental bandura accompaniment, the change of group singing into solo performance or vice versa. Genres of Ukrainian musical folklore are widely represented in the art of bandura players in Ukraine and abroad. As a result of the analysis of creativity for a bandura of the second hakf of the XX – beg. XXI centuries, in particular artists of the Ukrainian diaspora, it was found that musical folklore to a greater or lesser extent became the subject of works by L. Haidamaka, O. Herasymenko-Oliinyk, Н. Kytasty, R. Levytsky, V. Mishalow, Y. Oliinyk, P. Potapenko , M. Teliga, Z. Shtokalko and others. It is determined that vocal-instrumental arrangements of folk songs, instrumental arrangements of dance music, as well as instrumental works based on Ukrainian musical folklore, occupy an important place in the work of bandura performers and composers in Ukraine and abroad.

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Sinenko, Oksana. « THE TOPIC OF WAR IN WESTERN EUROPEAN MUSIC ART OF THE XX–XXI CENTURIES ». Dans Modernization of research area : national prospects and European practices. Publishing House “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-221-0-28.

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Wars are destructive events that, despite their destructive nature, occur with a certain frequency in the history of human existence. The course of wars, their nature and causes are different, but the impact of military events on human consciousness is inevitable. The problem of the destructive nature of war, its ability to integrate and differentiate human communities often received not only scientific coverage, but also became the subject of works of art. Art is a sphere of human life that flexibly responds to all events that occur in the socio-cultural space. There are many literary, pictorial, theatrical, cinematic works that reflect military events. Examples of military coverage can be found in the musical art of the XX–XXI century. Works related to the theme of war and peace, the balance between these phenomena, are available in both foreign and Ukrainian music culture. The purpose of the paper is to highlight the specifics of musical works on military themes and to determine the dominant features that are inherent in them. This task is urgent, given the significant transformation of modern life of the Ukrainian people and the need to define the role of musical art in society. Highlighting the features of musical works will determine their role in the context of culture. Methodology of the study is based on general research methods of analysis and synthesis, induction and deduction, observation and abstraction, which are used to systematize achievements in the study of military topics in the art of music. The logic of the study involves determining the range of works on the theme of war, highlighting their essential features, conducting a comparative analysis of works written by Western European artists and outlining further prospects for work in this direction. Results. Composers, turning in their works to military themes, often seek to make their compositions understandable to the public. After all, their works acquire the role of a kind of artistic manifestos, the result of their own subjective experiences of military events, or to reflect on them as observers. Trying to make them as accessible as possible to the audience helps to choose the principle of programmability when it comes to instrumental opuses. Composers give their works bright names that allow drawing an analogy with military events, adding poetic epigraphs and more. If composers turn to vocal and instrumental works, they choose those verbal texts that reproduce the desired artistic and figurative content. Most often, artists choose genres such as requiem, crying, oratorio. Composer’s reflection often includes reliance on texts of the Ordinary, Catholic Mass, etc., which are stable carriers of meaning, have their own symbolic value and are understandable due to their circulation in music culture to the general public. Practical implications. The study of works related to military themes provides an opportunity to understand the power of art, as well as to determine its role in society. The works of Western European composers of the XX century M. Ravel, C. Debussy became a reaction to the events of the First World War. The works of A. Schoenberg, A. Onegger, B. Britten, and K. Penderetsky were initiated at the beginning of the Second World War. Nowadays, the 21st century is a time of wars, which are a powerful emotional shock for people in general and composers in particular, who are trying to capture this traumatic experience in an artistic form. However, they see their mission not only in recreating events in an artistic form, but also in creating a kind of warning for posterity about the inability to move through wars that bring only pain and suffering, causing the death of human beings. Value/originality. Composers’ artistic manifestos are a direct reaction to the changing world, shocks that confuse people, even if they were not directly involved. A promising area for further research is to highlight the specifics of works by Ukrainian composers related to military issues.

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Pawłowska, Aneta. « Inspiracje, imitacje i zapożyczenia ze sztuki prymitywnej przez artystów południowoafrykańskich w I połowie XX wieku ». Dans Sztuka Afryki. Afrykańska tradycja – afrykańska nowoczesność. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-321-5.05.

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The aim of the article is the presentation of the influence of African art at the beginning of the 20th century in South African. Primitivism and the awareness of Primitive Art have played a crucial role in the history and development of 20th century European and American Art, in a number of different ways, although the dynamics of how this happened are complex and varied. The purpose of this article is limited only to the presentation of the influence of indigenous Art from the African Continent and the socalled primitive or aboriginal art in the South African art tradition of European descent in the first half of the 20th century such as: Jacobus Hendrik Pierneef, Irma Stern, Walter Battiss and Alexis Preller. All of them have started to utilize the African iconography in their own paintings and decided to borrow some typical stylistic elements and narratives from indigenous works of African Art.

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Hopkins, Claudia, et Iain Boyd Whyte. « Natalia Martynenko, “American Painting in the Twentieth Century,” translated from Russian by David Mossop, originally published as Zhivopis’ SShA XX veka. Puti razvitiia (Kiev : Naukova Dumka, 1989), 118–139 (excerpt) ». Dans Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990, 512–15. Routledge, 2020. http://dx.doi.org/10.4324/9781003009979-12213.

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Gigante, Lorenzo. « Incontri, scontri, confronti Appunti sulla ricezione della xilografia nordica in Italia tra XV e XX secolo ». Dans Taking and Denying Challenging Canons in Arts and Philosophy. Venice : Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-462-2/007.

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Germany, France, Italy: the attribution of the first woodcut images has long been debated between several countries, to gain the technological primacy of the invention of reproductive printmaking, before Gutenberg’s movable type printing. Today we know how difficult it is, if not impossible, to establish a place and a date of origin of image printing in Europe. Impossible and probably unimportant. Printing was a European phenomenon in the 15th century, and we may ask ourselves whether a northern woodcut beyond the Italian borders was intended as something different than an Italian one. The contrast between northern and southern prints, which has been claimed by art historians from Vasari until the half of the 20th century, seems to be denied by early modern Italian sources. For example, a German woodcut from the first decades of the 15th century and a Florentine painting from the end of the 14th century can coexist as models for the illumination of the same manuscript. This unpublished case study of two Florentine 15th-century illuminations shows how a European cultural horizon was more common than we think today, and how much woodcut has been a fundamental tool for this broadening of horizons, since its very beginning.

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Akimova, Maria S. « Sound world of the Russian estate in the lyrics at the turn of the XIX–XX centuries ». Dans Russian Estate in the World Context, 162–73. A.M. Gorky Institute of World literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/978-5-9208-0627-7-162-173.

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The article notes the relevance of a systematic, holistic study of the poetics of Russian literature of the Silver age, which is increasingly necessary as this era moves away from the modern reader. Typical of the culture of XIX–XX features: “the anthro pological turn”, “the expansion of artistic sensibility”, a new notion of psychological insight, lyrical exploration of the experience of the body — resulted in works of art the largest layer of the touch of poetic imagery reflecting the experience of individual sense of life. On the material of Russian poetry of the late XIX — early XX century the sound world of the Russian estate and the poetics of its sound space are analyzed. It is shown how the sound variety is gradually replaced by silence or new sounds — disturbing, foreshadowing the death of the estate as part of the old world. There are traced the mechanisms of transmission of sound “psychophysiological space”, methods of repre sentation of nonverbal language, including features of sound recording. An attempt is made to trace the internal reactions that this or that sound causes in the lyric hero, and in the subjective interpretations of a number of poets to reveal the “acoustic invariant” of the “estate” poetry of the Silver age in its historical dynamics.

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Actes de conférences sur le sujet "XX Century Art"

Lebedeva, A. Iu. « Collage. Artistic features and ideological content in the European XX century art ». Dans ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ. НИЦ «Л-Журнал», 2019. http://dx.doi.org/10.18411/lj-03-2019-36.

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Majdanova, M. N. « On the problem of the stage implementation of content in the Russian director's theater beginning of XX century ». Dans Scientific Trends : Philology, Culturology, Art history. LJournal, 2019. http://dx.doi.org/10.18411/spc-26-03-2019-11.

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Jeftimijevic, Marija, et Mihajlovic. « Historical Flows of Serbian Literature Created in Kosovo and Metohija in the XX Century ». Dans 8th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2021). Paris, France : Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220306.053.

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Plastova, T. « PROBLEMS OF THE EXPOSITION OF PAINTINGS OF THE XXTH C. EXHIBITION EXPERIENCE OF A. PLASTOV'S PAINTINGS ». Dans Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2543.978-5-317-06726-7/48-50.

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The article is devoted tothe problems of XX century art exposition. The experience of A. Plastov exhibitions and the analysis of principles of European museums expositions allowed us to formulate some principles of XX century painting representation.

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Nashchokina, Maria. « Influence of Local Cultures and Construction Traditions on the Crimean Manor Architecture of the Late XVIII to Early XX Century ». Dans Proceedings of the 3rd International Conference on Art Studies : Science, Experience, Education (ICASSEE 2019). Paris, France : Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.1.

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Tkachev, Vitaliy. « To the Question of Organization of Art Exhibitions in the Cities of the Irkutsk Province of the Beginning of the XX Century : on the Materials of Periodic Printing ». Dans Irkutsk Historical and Economic Yearbook 2021. Baikal State University, 2021. http://dx.doi.org/10.17150/978-5-7253-3040-3.36.

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The article analyzes the sources of periodicals of the early XX century. on the organization of art exhibitions in the cities of the Irkutsk province. Newspapers told readers about unique events, familiarized residents with the paintings of domestic and foreign artists, the artistic life of the region. The study examines the main stages of exhibitions, identifies problems and results of events. The work proved that the sources of periodicals show how the idea of urban residents about the exhibitions taking place, value guidelines in art was formed.

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Belintseva, Irina. « The Architectural Image of the East Prussian Manor House of the XVII — First Half of the XX Century (Modern Kaliningrad Region of the Russian Federation) ». Dans Proceedings of the 2nd International Conference on Art Studies : Science, Experience, Education (ICASSEE 2018). Paris, France : Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.84.

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Васильева, Ж. В. « Vestimental Fashion-Trends in the Context of Culture of the late XIX – early XX century : Experience of Inclusion in the Process of Teaching the History of World Culture ». Dans Современное образование : векторы развития. Роль социально-гуманитарного знания в подготовке педагога : материалы V международной конференции (г. Москва, МПГУ, 27 апреля – 25 мая 2020 г.). Crossref, 2020. http://dx.doi.org/10.37492/etno.2020.75.60.051.

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вопросы взаимодействия моды и сферы искусства, аспекты сближения их позиций в области репрезентации базовых эстетических установок конца XIX – начала XX вв. долгое время оставались вне поля исследовательского внимания культурологов и искусствоведов. Между тем, для преподавания курса мировой художественной культуры (МХК) анализ динамики взаимопроникновения моды и искусства в период модерна, выявление параллелей в развитии фэшн-трендов и художественных направлений конца XIX – начала ХХ в. имеет принципиальное значение. Обосновать необходимость включения учебного материала по вестиментарным фэшн-трендам в курс МХК – наша задача. questions of interaction between fashion and art, aspects of convergence of their positions in the field of representation of basic aesthetic attitudes of the late XIX – early XX centuries for a long time remained out of the field of attention of researchers. Meanwhile, for teaching the history of world culture, the analysis of the dynamics of the interpenetration of fashion and art in the modern period, the identification of parallels in the development of fashion trends and artistic trends of the late XIX – early XX century is of fundamental importance. Our task is to justify the need to include educational material on vestigial fashion trends in the course of world art culture.

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Levoshko, Svetlana. « The Dachas of Russian Finland in the Cultural Landscape of the Baltic Coast of the First Third of the XX Century Problems of Study, Preservation and Use ». Dans Proceedings of the 2nd International Conference on Art Studies : Science, Experience, Education (ICASSEE 2018). Paris, France : Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.118.

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Русакова, И. Д., et И. В. Ковтун. « PAINTINGS OF THE TUTALSKAYA ROCK ART SITE ON THE RIVER TOM ». Dans Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.159-173.

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Статья посвящена находкам ранее не известных изображений на Тутальской писанице. Памятник известен с начала ХХ в., его исследованию посвящен целый ряд публикаций, однако совершенствующиеся методы выявления и документирования древних изображений позволяют находить новые рисунки и на известных плоскостях. В 2017 2018 гг. было проведено новое документирование плоскости 1 Тутальской писаницы. Ключевым результатом этой работы является выявление серии крашеных наскальных рисунков и определение последовательности нанесения изображений на скальную поверхность. Рассматриваются также вопросы хронологии и культурной принадлежности крашеных изображений и связанного с ними массива петроглифов плоскости. Эти рисунки отнесены к крохалёвскому культурному комплексу и датированы последней четвертью III тыс. до н. э. The paper is devoted to the discovery of previously unknown images at Tutalskaya rock art site. This rock art site is known since the beginning of the XX century. A number of publications were devoted to the study of it. New methods of detection and documentation of the ancient images allow finding some new drawings at the known surfaces. A new documenting of panel 1 of Tutalskaya rock art site in 2017 2018 conducted. The main result of this work is the identification of a series of paintings and establishing the sequence of rendering images on the rock surface. The issues of chronological and cultural attribution of these paintings as well as the associated petroglyphs on the panel are considered. All these images are attributed to the Krokhalevskaya culture which is dated to the last quarter of the 3rd millennium BC.

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Rapports d'organisations sur le sujet "XX Century Art"

Холошин, Ігор Віталійович, Тетяна Геннадіївна Назаренко, Ольга Володимирівна Бондаренко, Олена Вікторівна Ганчук et Ірина Миколаївна Варфоломєєва. The Application of Geographic Information Systems in Schools around the World : a Retrospective Analysis. КДПУ, 2020. http://dx.doi.org/10.31812/123456789/3924.

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The article is devoted to the problem of incorporation geographic information systems (GIS) in world school practice. The authors single out the stages of GIS application in school geographical education based on the retrospective analysis of the scientific literature. The first stage (late 70s – early 90s of the XX century) is the beginning of the first educational GIS programs and partnership agreements between schools and universities. The second stage (mid-90s of the XX century – the beginning of the XXI century) comprises the distribution of GIS-educational programs in European and Australian schools with the involvement of leading developers of GIS-packages (ESRI, Intergraph, MapInfo Corp., etc.). The third stage (2005–2012) marks the spread of the GIS school education in Eastern Europe, Asia, Africa and Latin America; on the fourth stage (from 2012 to the present) geographic information systems emerge in school curricula in most countries. The characteristics of the GIS-technologies development stages are given considering the GIS didactic possibilities for the study of school geography, as well as highlighting their advantages and disadvantages.

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BALYSH, A. N., et O. B. CHIRICOVA. SOME ASPECTS OF THE DEVELOPMENT OF ROCKET WEAPONS IN THE USSR IN THE 20-40S OF THE XX CENTURY. Science and Innovation Center Publishing House, avril 2022. http://dx.doi.org/10.12731/2077-1770-2021-14-1-2-91-102.

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The aim of the article. Establishment and development of the USSR rocket weapons for the period of the New Economic Policy and industrialization is one of the most interesting and poorly researched problem of the USSR military industry. The USSR first researches in the field of rocket weapons and ammunition creation, their features and results are poorly investigated by national historical science and just they are observed in the paper. Methodology. General principles of historism and objectivity are the theoretical-methodological base of this work. Author also use special historical methods: logic, systematic, chronological, actualisation and periodizing. Results. The paper is written by using the declassified documents for Official Use Only, by military technical documents, stored in the Russian National Library, little known memories of direct participants and some published researches. By considering these documents and materials it become clear that in the USSR before the Great Patriotic War a complex of problems on rocket weapon implementation were conditioned by objective and subjective reasons. The consequence of this was the adoption of some unfounded species of reactive weapons before the Great Patriotic War, who received an overestimated assessment and not justified all expectations and hopes assigned to them during the fighting. As a result, only by the end of the war these systems began to be used for their true purpose. Practical application. Practical significance of this work is as follows: facts shown in the article and conclusions drawn on them can be used for further research of USSR rocket weapon establishment and development in 20-40th years of XX century and also for Soviet history in general.

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BALYSH, A., et O. CHIRICOVA. PROBLEMS OF PRODUCTION AND USE OF SHEALING SLEEVES IN THE USSR BEFORE AND DURING THE GREAT PATRIOTIC WAR. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/2077-1770-2021-13-4-2-24-33.

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The aim of the article. One of the most interesting and topical problems in the USSR military industry development is the establishment and development of the USSR ammunition industry. The article is devoted to the study of one of the reasons for the poor supply of the Red Army by ammunition in the initial period of the war of 1941 - a lack of sleeves, which limited the production of artillery shells. The author sets the purpose of revealing the reasons for the unsatisfactory state of affairs in the field of manufacture by the industrial enterprises of the USSR industrial enterprises before the war, as well as the influence of this factor on the production and use of the sleeves during the war years. Methodology. General principles of historism and objectivity are the theoretical-methodological base of this work. Author also uses special historical methods: logic, systematic, chronological, actualisation and periodizing. Results. This article is based on documents storing in the Russian State Archive and Russian State Economical Archive. With the help of this documents and materials the author make the following decision: in 30th years of XX century in the USSR under forcing of industrial development the governmental bodies were not able to perform the efficient planning policy in the field of enterprises control especially in the defense branches. High-level personnel purposively disturbed technological process. It spoiled enterprises operation and it was the reason of defect production manufacturing. Practical application. Practical significance of this work is as follows: the archive data, which are for the first time used for scientific investigation and also the conclusions formulated in this article can be used for further scientific research of the USSR military industry in the industrialization period and on military production lend-lease during the Great Patriotic War and also in Soviet history in general.

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Halych, Valentyna. SERHII YEFREMOV’S COOPERATION WITH THE WESTERN UKRAINIAN PRESS : MEMORIAL RECEPTION. Ivan Franko National University of Lviv, février 2021. http://dx.doi.org/10.30970/vjo.2021.49.11055.

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The subject of the study is the cooperation of S. Efremov with Western Ukrainian periodicals as a page in the history of Ukrainian journalism which covers the relationship of journalists and scientists of Eastern and Western Ukraine at the turn of the XIX-XX centuries. Research methods (biographical, historical, comparative, axiological, statistical, discursive) develop the comprehensive disclosure of the article. As a result of scientific research, the origins of Ukrainocentrism in the personality of S. Efremov were clarified; his person as a public figure, journalist, publisher, literary critic is multifaceted; taking into account the specifics of the memoir genre and with the involvement of the historical context, the turning points in the destiny of the author of memoirs are interpreted, revealing cooperation with Western Ukrainian magazines and newspapers. The publications ‘Zoria’, ‘Narod’, ‘Pravda’, ‘Bukovyna’, ‘Dzvinok’, are secretly got into sub-Russian Ukraine, became for S. Efremov a spiritual basis in understanding the specifics of the national (Ukrainian) mass media, ideas of education in culture of Ukraine at the end of XIX century, its territorial integrity, and state independence. Memoirs of S. Efremov on cooperation with the iconic Galician journals ‘Notes of the Scientific Society after the name Shevchenko’ and ‘Literary-Scientific Bulletin’, testify to an important stage in the formation of the author’s worldview, the expansion of the genre boundaries of his journalism, active development as a literary critic. S. Yefremov collaborated most fruitfully and for a long time with the Literary-Scientific Bulletin, and he was impressed by the democratic position of this publication. The author’s comments reveal a long-running controversy over the publication of a review of the new edition of Kobzar and thematically related discussions around his other literary criticism, in which the talent of the demanding critic was forged. S. Efremov steadfastly defended the main principles of literary criticism: objectivity and freedom of author’s thought. The names of the allies of the Ukrainian idea L. Skochkovskyi, O. Lototskyi, O. Konyskyi, P. Zhytskyi, M. Hrushevskyi in S. Efremov’s memoirs unfold in multifaceted portrait descriptions and function as historical and cultural facts that document the pages of the author’s biography, record his activities in space and time. The results of the study give grounds to characterize S. Efremov as the first professional Ukrainian-speaking journalist.

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