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Barbosa Ribeiro, Marta, e Joana Brites. "Rethinking the stylistic categories of Portuguese 19th century sculpture: the work of António Teixeira Lopes". Ars Longa. Cuadernos de arte, n. 26 (1 febbraio 2018): 157. http://dx.doi.org/10.7203/arslonga.26.10961.
Testo completoAbstract (sommario):
This paper aims to rethink 19th century Portuguese sculpture’s stylistic categories from the analysis of the work of António Teixeira Lopes, who is considered the major representative of naturalism in this country. First, the concept of naturalism in Portuguese art history is examined, with a critical characterization of its separation from romanticism (contrasting with mainstream literature) and demonstrating that its emergence from painting research and its adoption in sculpture is inoperative when observing a concrete art work. Secondly, with the Portuguese art reality as a backdrop, Teixeira Lopes’ academic and professional life is contextualised. Finally, based on the analysis of the sculptor’s work and the knowledge of his methods and views on art, the labelling of Lopes as a naturalist is questioned and the necessity for a less compartmentalized understanding of 19th century art is stressed.
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Nurjannatunaimah, Nurjannatunaimah, Triyono Widodo e Swastika Anggriani. "Pemandangan Alam Tiris Kabupaten Probolinggo sebagai Ide Penciptaan Karya Seni Lukis Naturalisme". JoLLA: Journal of Language, Literature, and Arts 3, n. 7 (30 luglio 2023): 1004–21. http://dx.doi.org/10.17977/um064v3i72023p1004-1021.
Testo completoAbstract (sommario):
Alam Tiris Kabupaten Probolinggo memiliki objek keindahan dan pariwisata yang sangat beragam, seperti hamparan perkebunan teh Gambir, arung jeram Sungai Pekalen, Danau Ranu Agung, dan berbagai air terjun. Kecamatan Tiris terletak di Kabupaten Probolinggo dan berada di ketinggian 700 hingga 1000 mdpl. Karya seni lukis naturalisme dengan objek pemandangan alam Tiris diciptakan untuk menuangkan kekaguman pencipta terhadap keindahan alam dan sebagai upaya untuk memperkenalkan keindahan alam Tiris Kabupaten Probolinggo kepada masyarakat umum. Proses penciptaan karya seni lukis naturalisme menggunakan teori penciptaan seni oleh M. Alma Hawkins yang memiliki tiga tahapan, yakni tahap eksplorasi, improvisasi, dan pembentukan atau forming. Bentuk visual dari karya yang dihasilkan adalah karya seni rupa dua dimensi dengan objek yang sepenuhnya terinspirasi dari keindahan alam Tiris dengan mengemban prinsip perspektif, skala, komposisi dengan teknik goresan ekspresif dan finger painting. Penciptaan karya seni lukis menghasilkan enam karya naturalisme, yakni dengan judul (1) Lili air Ranu Agung, (2) Aliran Sungai Pekalen, (3) Argopuro dan Hamparan Teh, (4) Sudut Ladang, (5) Air Terjun Mukjizat yang Tersembunyi, dan (6) Ranu Agung dan Gunung Lemongan. Hasil penciptaan lukisan ini diharapkan dapat memberikan gambaran kepada masyarakat tentang keindahan alam Tiris Kabupaten Probolinggo. Kata kunci: Tiris Probolinggo, seni lukis, naturalisme The Panorama of Tiris Probolinggo Regency as an Idea for the Creation of Naturalism Painting Tiris Probolinggo Regency has very diverse beauty and tourism objects, including the expanse of the Gambir tea plantation, Pekalen River rafting, Lake Ranu Agung, and waterfalls, many of which are still unknown. Tiris District is located in Probolinggo Regency and is located at an altitude of 700 to 1000 meters above sea level. Naturalism painting works with natural landscape objects of Tiris were created to express the creator's admiration for the existing natural beauty as well as an effort to introduce the natural beauty of Tiris - Probolinggo to the wider community. The process of creating works of naturalism painting uses the theory of art creation by M. Alma Hawkins which has three stages, including the stages of exploration, improvisation, and forming. The visual form of the work produced is a two-dimensional work of art with objects fully inspired by the natural beauty of Tiris by carrying out the principles of perspective, scale, composition using expressive stroke techniques and finger painting. The creation of works of art resulted in six works of naturalism with the titles (1) Water lilies Ranu Agung, (2) Stream of the Pekalen River, (3) Argopuro and Expanse of Tea, (4) Angles of Fields, (5) Hidden Miracle Waterfall, and (6) Ranu Agung and Mount Lemongan. The results of the creation are expected to provide an overview to the public about the natural beauty of Tiris Probolinggo Regency. Keyword: Tiris Probolinggo, painting, naturalism
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Kim, Jeong-eun. "The Meaning of ‘Naturalism’ in Korean Art Discourse: Focusing on Kim Won-yong’s ‘Naturalsim’ and Lee Yil’s ‘Pan-naturalism’". Journal of Aesthetics & Science of Art 71 (28 febbraio 2024): 118–36. http://dx.doi.org/10.17527/jasa.71.0.06.
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Dorohan, Ilona, Olha Boiko, Kateryna Kyrylenko, Svitlana Oborska e Olha Shandrenko. "Naturalistic inquiries of M. Bashkirtseva as an artist: Synthesis of literature and art". Scientific Herald of Uzhhorod University Series Physics 2024, n. 55 (21 dicembre 2023): 1743–50. http://dx.doi.org/10.54919/physics/55.2024.174vp3.
Testo completoAbstract (sommario):
Relevance. Maria Bashkirtseva�s multifaceted approach as an artist and memoirist was significant in the formation of the French naturalism movement. Her integration of literary influences, particularly from Dostoevsky, with her artistic expression provides a unique perspective on the interaction between literature and painting in the late 19th century.Purpose. This study aims to explore Bashkirtseva�s role in developing naturalism through her artwork and diaries, emphasizing her innovative synthesis of literary and artistic elements.Methodology. A comprehensive analysis of Bashkirtseva�s paintings, diaries, and personal letters was conducted to trace her artistic evolution and literary influences. The study also examines critical receptions and scholarly works on her contribution to art and literature, alongside a detailed examination of her personal educational background.Results. The research highlights several key periods in Bashkirtseva�s career where her artistic direction significantly intersected with literary themes, particularly those of naturalism. Her work not only reflects her personal experiences and societal observations but also illustrates a deliberate blending of narrative depth with visual realism.Conclusions. Bashkirtseva�s contributions were instrumental in shaping the narrative and aesthetic dimensions of French naturalism. Her ability to infuse literary naturalism into her visual art marks her as a pivotal figure in the integration of these cultural domains. The study reaffirms her status as a crucial link in understanding the evolution of modern European art and literature.
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Abadía, Oscar Moro, Manuel R. González Morales e Eduardo Palacio Pérez. "‘Naturalism’ and the interpretation of cave art". World Art 2, n. 2 (settembre 2012): 219–40. http://dx.doi.org/10.1080/21500894.2012.689258.
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Killin, Anton. "Defending scientific naturalism in philosophy of art". Metascience 29, n. 2 (25 maggio 2020): 289–92. http://dx.doi.org/10.1007/s11016-020-00528-w.
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Ossewaarde, Ringo, Tatiana Filatova, Yola Georgiadou, Andreas Hartmann, Gül Özerol, Karin Pfeffer, Peter Stegmaier et al. "Review article: Towards a context-driven research: a state-of-the-art review of resilience research on climate change". Natural Hazards and Earth System Sciences 21, n. 3 (26 marzo 2021): 1119–33. http://dx.doi.org/10.5194/nhess-21-1119-2021.
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Abstract. The twofold aim of this paper is to provide an overview of the current state of resilience research with regard to climate change in the social sciences and propose a research agenda. Resilience research among social scientists is characterized by much more diversity today than a few decades ago. Different definitions and understandings of resilience appear in publications during the last 10 years. Resilience research increasingly bears the mark of social constructivism, a relative newcomer compared to the more long-standing tradition of naturalism. There are also approaches that are indebted to both “naturalism” and “constructivism”, which, of course, come in many varieties. Based on our overview of recent scholarship, which is far from being exhaustive, we have identified six research avenues that arguably deserve continued attention. They combine naturalist and constructivist insights and approaches so that human agency, reflexivity, and considerations of justice and equity are incorporated into systems thinking research or supplement such research. Ultimately, we believe that the overarching challenge for future research is to ensure that resilience to climate change does not compromise sustainability and considerations of justice (including environmental, climate, and energy justice).
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Gawronski, Alexander. "Art as Critique under Neoliberalism: Negativity Undoing Economic Naturalism". Arts 10, n. 1 (4 febbraio 2021): 11. http://dx.doi.org/10.3390/arts10010011.
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This essay considers the possibilities of contemporary art as a viable medium of socio-political critique within a cultural terrain dominated by naturalised neoliberal economics. It begins by considering the centrality of negativity to the historical project of critical theory most forcefully pursued by Adorno as ‘negative dialectics.’ Subsequent varieties of postmodern critique fairly dispensed with dialectics variously favouring complexity and an overriding emphasis on textuality. With the birth of neoliberalism and its burgeoning emphasis on ‘the contemporary’, economic values begin to penetrate every aspect of contemporary life and experience, including art and culture. Contemporary capitalism dematerialised as financialisation now comprises a naturalised ambience that is both everywhere and nowhere. Capitalist ambience is echoed in contemporary art that suggests criticality and yet seems to side with the imagery, values and logics of the prevailing financial order. The naturalisation of the neoliberal order is further internalised by artists online. Exacerbated contemporary emphasis on the ‘self as entrepreneur’ coincides with the biopolitical transformation of the contemporary artist into an individual ‘enterprise unit’. This is particularly observable online on social media where an artist’s whole life is simultaneously the subject and object of art. Criticality in art does not disappear but becomes ‘self-annulling’: it acts as a conduit questioning the commodity-identity of art while pointing to phenomena and affects outside the art world. With the recent appearance of the COVID-19 virus, added to the unignorable impact of global climate change, ‘real nature’ assumes a critical role, undermining neoliberalism’s ideological naturalisation while laying-bare the extent of its structural contradictions. Art criticality is revivified by divesting from art contexts saturated with neoliberal imperatives. Criticality is negatively practiced as an ‘un-’ or ‘not-doing’, defining modes of exodus while, crucially, not abandoning art’s institutional definition altogether.
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Consoli, Gianluca. "Aesthetic Value and Aesthetic Judgment". Aesthetic Investigations 4, n. 1 (31 dicembre 2020): 112–21. http://dx.doi.org/10.58519/aesthinv.v4i1.11928.
Testo completoAbstract (sommario):
Contemporary aesthetic naturalism integrates various scientific approaches into the common effort to provide an explanation of the main topics of aesthetics on the basis of empirical methods or in line with available evidence. Although these approaches have recently achieved very relevant empirical and theoretical results, contemporary aesthetic naturalism still does not solve the traditional hard problem of naturalism as such, that is the explanation of value in scientific terms. Firstly, I analyse the possible responses to this hard problem, showing that aesthetic value, particularly in the version of artistic value, remains outside the scope of current empirical approaches to aesthetics. Then I propose that this apparently strong philosophical limitation can be easily reduced to an ordinary epistemological limitation if aesthetic naturalism accepts to improve the interaction with art criticism, the discipline in the humanities characterised by a privileged access to the historical and social reasons that justify aesthetic judgments.
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Karbalaeetaher, Hossein Shahin. "Cinema And Society In The Light Of Emile Zola’s Naturalism". CINEJ Cinema Journal 8, n. 1 (11 marzo 2020): 141–55. http://dx.doi.org/10.5195/cinej.2020.244.
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This study will seek to discuss the essential impact of Emile Zola’s naturalism regarding the role of cinema in projecting social issues. To be clear on how cinema has got involved with social issues and has become an effective art form for distributing social messages and encouraging social changes, this study first will give a detailed historical background on the relationship between cinema itself and society. Then, it will elaborate on Emile Zola's naturalistic literature role as the first serious endeavors to raise social awareness through art and literature in the late nineteenth century. Finally, this study will focus on the first cinematic movement with an emphasis on the depiction of the working class' real life and revealing inequalities and injustices in a society based on Zola’s naturalism.
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Khitruk, Ekaterina B. ""Was Fred’s death accidental?": Science between theism and naturalism". Vestnik Tomskogo gosudarstvennogo universiteta, n. 485 (2022): 200–205. http://dx.doi.org/10.17223/15617793/485/22.
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The article reveals the main provisions of the discussion on the relationship between modern science and theism between two famous American philosophers – the naturalist Daniel Dennett and the “analytic theist” Alvin Plantinga. The debate took place in 2009 as part of the session of the Central Division of the American Philosophical Association and was published in 2011 under the title “ Science and Religion: Are They Compatible?” The positions of the analyzed discussion are reproduced in connection with the example proposed by Dennett. The example tells about an investigation into the causes of the sudden death of the art critic Fred, which symbolizes the process of evolution. Dennett believes that the cause of death of an art critic is natural, and the theistic interpretation offers an excessive and irrational explanation, arguing about God as the leader of the evolutionary process (in the example, the analogue of God is the artist Tom, who has supernatural abilities). Dennett’s key argument boils down to considering supernatural interference as an excessive addition to the naturalistic vision of the world – in fact, naturalists do not need to substantiate the non-existence of the Creator, since it is already implied at the level of common sense as a condition of scientific research (“trial”). Naturalism is practically justified. Plantinga agrees with Dennett that Tom’s imaginary abilities cannot be taken into account in a serious investigation. However, from his point of view, there is no basis for an analogy between a finite being with superpowers (Tom) and the absolute and transcendent God of theism. Thus, rejecting both the naturalistic interpretation of the evolutionary process as quasireligious, and the imaginary intervention of a finite being with superpowers, Plantinga recognizes God as a possible (and even justified) cause of the evolutionary process. The article concludes that the polemical confrontation between naturalism and theism continues to be open and this circumstance has a positive effect on both competing parties in terms of stimulating constant clarification and improvement of their own argumentation.
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Golod, Roman. "Ukrainian Literary Naturalism in the Ideological and Aesthetic Reception of Lesia Ukrainka". Journal of Vasyl Stefanyk Precarpathian National University 8, n. 2 (2 giugno 2022): 56–64. http://dx.doi.org/10.15330/jpnu.8.2.56-64.
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The article deals with the study of the problem of Lesia Ukrainka's reception of the literary phenomenon of naturalism and the philosophy of positivism as its ideological basis. It also studies the way the poetess evaluated and looked at the achievements of European and Ukrainian writers representing this literary movement in the context of world and Ukrainian literary and cultural processes. The research also singles out the significance, national and individual-author features of the naturalism professed by I. Franko, A. Krymsky, E. Zola, Goncourt brothers, and F.Norris. The article focuses on the ideological and aesthetic importance of the postulates of naturalistic art for the development of the Ukrainian literary process. It also analyses different stages of the ideological and aesthetic reception of the naturalism doctrine in the perception of different generations of Ukrainian literary critics; it deals with Lesya Ukrainka's attitude to the naturalistic concept of a man and her reasoning about the compatibility of naturalism with certain genres and movements of literature. The article drives to the conclusion that Lesia Ukrainka recognizes the very fact of the existence of Ukrainian naturalism. It provides Lesia's vision on the usage of naturalistic elements in generally unnaturalist works and their combination with other elememts, sometimes representative of opposite to naturalism in their ideological and aesthetic postulates, such as romanticism, decadence, neo-romanticism, realism, etc. The article also provides an insight of Lesia Ukrainka's attitude to the problems of zoomorphic imagery, social involvement, physiological scientism in the literature of naturalism. It draws attention to the problem of the evolution of aesthetic consciousness of E. Zola, I. Franko, A. Krymsky, and Lesia Ukrainka herself. There is also place for the comparative analysis of the perception of naturalism in the literary-critical reception of different generations of Ukrainian and foreign writers.
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Silina, Maria. "The Struggle Against Naturalism: Soviet Art from the 1920s to the 1950s". RACAR : Revue d'art canadienne 41, n. 2 (25 novembre 2016): 91–104. http://dx.doi.org/10.7202/1038074ar.
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En 1936, en Union soviétique, des critiques anonymes lancèrent une campagne répressive « contre le naturalisme et le formalisme ». Il devint alors impossible, pour plusieurs artistes, d’exposer leur travail et de participer à des concours artistiques. Les artistes « formalistes », tels le suprématiste Kasimir Malevitch et le réaliste analytique Pavel Filonov, étaient facilement identifiables, car ils étaient représentatifs du modernisme européen. La définition du naturalisme, par contre, était beaucoup moins précise. Perçu comme une reproduction presque photographique de la réalité, le naturalisme était pratiqué par les membres de l’Association des artistes de la Russie révolutionnaire. Dans cet article, nous étudions l’histoire de la notion de naturalisme en Union soviétique durant les années 1920–1950 et démontrons son importance pour la définition du réalisme socialiste.
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Smith, Murray. "Film, Art, and the Third Culture". Projections 12, n. 2 (1 dicembre 2018): 111–36. http://dx.doi.org/10.3167/proj.2018.120214.
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In this article, I reply to the eleven commentaries on Film, Art, and the Third Culture gathered here, organizing my responses thematically and seeking to find points of similarity and difference among the commentators as well as with my own perspective. I address arguments on embodied simulation; the analogy between films and dreams; aesthetic experience and the “expansion” of ordinary experience; the relationships between culture and cognition and between fiction and emotion; theories of the extended mind and of niche construction; the place of neuroscience in aesthetics; and the relationship between naturalism and normativity. I conclude with some reflections on naturalistic methodology.
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Locker, Jesse. "Caravaggio's Artichokes". Gastronomica 19, n. 4 (2019): 20–27. http://dx.doi.org/10.1525/gfc.2019.19.4.20.
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In April 1604, the Italian painter Caravaggio, believing that he had been slighted, threw a platter of artichokes at the head of waiter in a Roman tavern. This essay examines this curious episode through the lens art history, food history, and of social mores in seventeenth-century Rome, considering the history of the artichoke, Caravaggio's polemical naturalism, and contemporary attitudes to his art and behavior.
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Jeong, Eunyeong. "A Study on the Nail Art Design Converging the Aesthetic Characteristics of Neo-Naturalism". Korean Society of Culture and Convergence 44, n. 12 (31 dicembre 2022): 1073–83. http://dx.doi.org/10.33645/cnc.2022.12.44.12.1073.
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The purpose of this study is to present a neo-naturalistic nail art design that combines the aesthetic characteristics of digital with nail art techniques using natural images as a motif. Through a review of the preceding paper, neonaturalism was defined as a nail art design that combines digital characteristics with natural images of flowers, oceans, and universes. First, natural images of flowers, the sea, and the universe were reproduced with nail art designs (3 works). The neo-naturalist nail art design has produced 3 works that maximize the splendor of flowers, richness and beautiful images, the separation of sea and sand, and the non-static image of bubbles, and the various glitters and dreams of the universe. This study proposed a neo-naturalistic nail art design in which digital elements are fused to the natural image motif extracted from the nail art design that reproduces the appearance of nature. Through this, it is believed that the possibility of nail art design was discovered as a means of expressing the value of nature preservation, and the scope of use of nail art design was expanded.
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Benay, Jeanne. "Hermann Bahr en Russie : entre altérité et intériorité". Austriaca 62, n. 1 (2006): 125–37. http://dx.doi.org/10.3406/austr.2006.4516.
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In Russische Reise (The Trip to Russia ; 1891) Hermann Bahr follows a kind of “cult of the self’, is concerned with the internal, and seeks a new artistic discourse -all of which take precedence in the story over the impressions and descriptions of the trip itself. Nonetheless Russian alterity can finally be considered equal to that of other cultures. Russians are no barbarians : “Their culture is not inferior to ours ; it is merely different.” (47) The trip profited from reflection, but Bahr also enjoyed pleasures ranging from art to the flesh. Following his return from Russia Bahr published, also in 1891, Die Überwindung des Naturalismus (The Conquest of Naturalism), an essay in which he argued on behalf of what he called a “romanticism of the nerves”, and it is not impossible that the Russian interlude played a certain role in it.
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Tarnowski, Józef. "Narodziny Witkacego z ducha Witkiewicza". Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 30, n. 1 (2018): 111–21. http://dx.doi.org/10.15290/idea.2018.30.1.08.
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Stanisław Witkiewicz (1851-1915) himself taught his son Stanisław Ignacy (1885-1939), known later as Witkacy, helped by his wife and friends, among whom there were scientists, artists and professional teachers. The results of such education were amazing. At the age of eight, the boy could paint using different techniques, play the piano and compose music. His father desired for him to become a naturalist painter like himself. At a young age Witkacy became an outstanding artist, not only a painter, but also a writer. However, in opposition to his father’s teaching, when he matured artistically, he rejected naturalism and joined the artistic avant-garde. Just after the first world war he published a long philosophical essay inspired probably by the work of his father’s great intellectual enemy – the Neo-Hegelian Polish philosopher Henryk Struve. Thus, Witkacy shaped himself, both in the respect of art and philosophy, in the opposition to his father, Stanisław Witkiewicz.
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Herwandi, Herwandi, Rafeah Legino, Hanafi Hussin e Ike Revita. "Interpreting Avian Imagery in Minangkabau Patterns: Insights from fiqh and Sufism perspectives". Environment-Behaviour Proceedings Journal 8, SI16 (25 novembre 2023): 139–46. http://dx.doi.org/10.21834/e-bpj.v8isi16.5230.
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The ongoing study investigates the anomaly in decorative patterns within Minangkabau art. These ornamental designs, characterised by abstraction rather than naturalism, bear connections to Islamic thought and Sufism within Minangkabau culture in West Sumatra. This examination focuses on specific, selected decorative patterns and is considered part of the philosophy of Islamic art. The appropriate methodology involves field research encompassing hundreds of Minangkabau artefacts featuring these ornamental designs. The process of analysis includes looking into the connection between Islamic thought and specific examples of patterns used in Minangkabau art. This includes an inquiry into how the ornaments exclusively represent the characteristics of actual birds.
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Иванов, А. В. "Idealization in art". Iskusstvo Evrazii [The Art of Eurasia], n. 3(30) (30 settembre 2023): 204–13. http://dx.doi.org/10.46748/arteuras.2023.03.014.
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В статье анализируется понятие идеализации. Разбираются различные смыслы, которые в него вкладываются. Особое внимание уделяется истолкованию идеализации в немецкой классической философии, особенно в философском наследии Шеллинга. По Шеллингу, процесс идеализации подразумевает художественное постижение и выражение идеальной сущности вещей, людей и событий через ее явленность в образно-символической форме. Идеализация противостоит, с одной стороны, натурализму в искусстве, а с другой, рационалистическим идеализациям действительности в смысле ее приукрашивания. Показывается присутствие художественной идеализации в различных жанрах изобразительного искусства: натюрморте, пейзаже, портрете, исторических полотнах. The article analyses the concept of idealization. The various meanings that are put into it are being analysed. Special attention is paid to the interpretation of idealization in German classical philosophy, especially in Schelling’s philosophical heritage. According to Schelling, the process of idealization implies comprehension and artistic discovery of the ideal essence of things, people and events through its manifestation in figurative and symbolic form. Schelling's idealization opposes, on the one hand, naturalism in art, and, on the other, its rationalistic idealizations of reality in the sense of its embellishment. It is shown the existence of artistic idealization in various genres of fine arts: still-life, landscape, portrait, historical canvases.
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Smith, Murray. "Film, Art, and the Third Culture". Projections 12, n. 2 (1 dicembre 2018): 1–8. http://dx.doi.org/10.3167/proj.2018.120202.
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In this overview of my recent book, I outline its main themes, questions, and arguments. Part 1 explores the applicability of philosophical naturalism to aesthetics and the arts. Searching for the principles that might undergird a naturalistic or “third cultural” approach to the arts, I defend a model of “triangulation” that seeks consilience among phenomenological, psychological, and neurophysiological evidence and that relates to two further strategies: “thick explanation,” combining personal and “subpersonal” levels of analysis, and “theory construction,” conceived as an empirically oriented alternative to conceptual analysis. Part 2 examines emotion in the arts and in film as a relevant and fertile territory for a naturalized aesthetics, in relation to Charles Darwin’s account of the expression of the emotions, niche construction, and the theory of the “extended mind.”
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Taçon, Paul S. C., Li Gang, Yang Decong, Sally K. May, Liu Hong, Maxime Aubert, Ji Xueping, Darren Curnoe e Andy I. R. Herries. "Naturalism, Nature and Questions of Style in Jinsha River Rock Art, Northwest Yunnan, China". Cambridge Archaeological Journal 20, n. 1 (27 gennaio 2010): 67–86. http://dx.doi.org/10.1017/s0959774310000053.
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The naturalistic rock art of Yunnan Province is poorly known outside of China despite two decades of investigation by local researchers. The authors report on the first major international study of this art, its place in antiquity and its resemblance to some of the rock art of Europe, southern Africa and elsewhere. While not arguing a direct connection between China, Europe and other widely separated places, this article suggests that rock-art studies about the nature of style, culture contact and the transmission of iconography across space and time need to take better account of the results of neuroscience research, similar economic/ecological circumstances and the probability of independent invention.
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Aliyari, Mahdi. "Explanation of Naturalism and Its Role in the Mindset of Contemporary Architecture". International journal of Modern Achievement in Science, Engineering and Technology 1, n. 2 (30 giugno 2024): 39–51. http://dx.doi.org/10.63053/ijset.24.
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Naturalism is a philosophical and artistic movement that places greater emphasis on the relationship between humans and nature. This movement believes that humans should live in harmony with nature and use natural resources in a sustainable and responsible manner. Nature has always been one of the most important sources of inspiration for humans throughout history; from the earliest artistic works left by humans on cave walls to the present day, it has always been present. Aristotle, an ancient philosopher, was one of the first to speak about nature as a great source of inspiration. Undoubtedly, some of the best works of art, such as paintings and classical music pieces, have been created through this approach. Therefore, the aim of this research is to identify the concept of naturalism in architecture and how the tendency towards nature has influenced contemporary architecture in Iran. Accordingly, we raise the question of how naturalism has impacted contemporary architectural works in Iran. To address this question, specific examples of contemporary architectural works from different time periods where the theme of naturalism has been discussed in critiques and descriptions were selected. The study investigates how inspiration from nature and the mutual influence between architecture and nature have been analyzed descriptively and analytically. The results of this research indicate that the use of natural materials and emulation of natural forms have had the greatest impact on the inclination towards nature in contemporary architecture.
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Dorohan, Ilona V., Olha S. Boiko, Kateryna M. Kyrylenko, Svitlana V. Oborska e Olha M. Shandrenko. "Naturalistic inquiries of M. Bashkirtseva as an artist". Linguistics and Culture Review 5, S4 (22 ottobre 2021): 33–43. http://dx.doi.org/10.21744/lingcure.v5ns4.1547.
Testo completoAbstract (sommario):
The study pioneers the naturalistic search of Bashkirtseva as an artist, which was expressed in her involvement in the creation of a new movement in art, including painting, defined as naturalism. Several aesthetically significant and self-sufficient stages of its development in the creative activity of Maria Bashkirtseva are presented. It is noted that in this process the noblewoman's high education at home with her interest in the interaction of literature and painting, which in due course was understood as aesthetically valuable for painting and the artist, was initially obtained. The importance of the next naturalistic stage of Bashkirtseva is underlined, which is conditioned by her rapid acquisition of the European urban culture, one of the specific features of naturalism, first of all, the French one with the priority of Parisian peculiarities. In this way, it is emphasized that Bashkirtseva was not only focused on the development of critical and pictorial-literary trends in naturalism but also involved in their creation, developing the synthesis of literature and painting. It is emphasized that Bashkirtseva in the mastery of Dostoevsky largely anticipated the concept of Bakhtin, “following” the images of the Russian classic, giving them their naturalistic meaning.
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Killin, Anton. "Fictionalism about musical works". Canadian Journal of Philosophy 48, n. 2 (2018): 266–91. http://dx.doi.org/10.1080/00455091.2017.1357993.
Testo completoAbstract (sommario):
AbstractThe debate concerning the ontological status of musical works is perhaps the most animated debate in contemporary analytic philosophy of music. In my view, progress requires a piecemeal approach. So in this article I hone in on one particular musical work concept – that of the classical Western art musical work; that is, the work concept that regulates classical art-musical practice. I defend a fictionalist analysis – a strategy recently suggested by Andrew Kania as potentially fruitful – and I develop a version of such an analysis in line with a broad commitment to philosophical naturalism.
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Zanotti, Pierantonio. "Beyond Naturalism: Sōma Gyofū, Italian Futurism, and the Search for a New “Art of Force”". Archiv orientální 85, n. 2 (18 settembre 2017): 283–303. http://dx.doi.org/10.47979/aror.j.85.2.283-303.
Testo completoAbstract (sommario):
Sōma Gyofū (1883–1950), one of the most influential literary critics in Taishō Japan (1912–26), published a short essay called “Gendai geijutsu no chūshin seimei” (The central life in contemporary art) in the March 1913 issue of Waseda bungaku (Waseda literature). In it, after illustrating the shortcomings of a number of outlooks on modern life provided by European writers and philosophers, he praised Italian Futurism as the sole movement that came closest to his own ideal of an “art of force” able to cope with the anguished condition of man in a modern technological society. By combining historical research and a textual overview on publications that shaped Gyofū’s knowledge of Futurism, I show how Gyofū’s reception of Futurism was mediated by his philosophical background, which was characterized by an attempt at going beyond Japanese naturalism (shizenshugi). In that, “Gendai geijutsu no chūshin seimei” can be seen as representative of a transition in the Japanese literary scene, which, in the shift from the Meiji to the Taishō era, was experiencing a crisis of naturalism and the rise of discourses centred on “life,” the “self,” and their creative potential.
27
Nutas, Andrei. "Review of Sorgner's Philosophy of Posthuman Art". International Journal of Technoethics 13, n. 1 (1 gennaio 2022): 1–7. http://dx.doi.org/10.4018/ijt.313197.
Testo completoAbstract (sommario):
The paper deals with a review of Sorgner's new book, Philosophy of Posthuman Art. The review highlights Sorgner's positioning of postmodern art as emerging from a way of dealing with the realities of ontological naturalism and epistemic perspectivism. It is also highlighted why the author believes that the avant-garde and modernist aesthetic is lacking in dealing with a world of technology embedded post-modernity. In this sense, Sorgner's arguments for the totalitarian aspects of the avant-garde are presented. The paper also offers a critique regarding Sorgner's continental focus, and an argument for why his 10 aesthetics of posthuman art could be boiled down to eight, before finalizing with a walk through Sorgner's view on a posthuman total work of art and his view leisure within a posthuman era.
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Ansell-Pearson. "Naturalism as a Joyful Science: Nietzsche, Deleuze, and the Art of Life". Journal of Nietzsche Studies 47, n. 1 (2016): 119. http://dx.doi.org/10.5325/jnietstud.47.1.0119.
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Polzer, Joseph. "Concerning the chronology of Cimabue's oeuvre and the origin of pictorial depth in Italian painting of the later middle ages". Zograf, n. 29 (2002): 119–42. http://dx.doi.org/10.2298/zog0329119p.
Testo completoAbstract (sommario):
A study devoted to the gradual emergence of pictorial depth in Cimabue's paintings, and how it applies, together with other factors, to the understanding of their sequential chronology. The conclusions reached underscore the vast difference in Cimabue 's conservative art and the exceptional naturalism of the evolving Life of Saint Francis mural cycle lining the lower nave walls in the upper church of San Francesco at Assisi.
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Heinrich, Johannes. "Nietzsche und die Philosophie der Lebenskunst". Nietzsche-Studien 47, n. 1 (1 novembre 2018): 442–57. http://dx.doi.org/10.1515/nietzstu-2018-0021.
Testo completoAbstract (sommario):
Abstract Nietzsche and the philosophy of the art of living. The books under review trace the network of relationships between Nietzsche and the ancient philosophy of the art of living. Further, Nietzsche’s idea of the art and style of living is placed in the context of existentialism and, above all, in close proximity to the philosophy of Søren Kierkegaard. It becomes clear that Nietzsche’s concept of the art of living cannot be reduced to the philosophical and historical context of classical concepts of self-care; rather, Nietzsche’s views have to be situated in the context of modern and current philosophical theories. In addition, questions such as the alleged naturalism in Nietzsche’s work, as well as the possible continuity between his early and late writings, are strongly related to the analysis of a Nietzschean art of living.
31
Sêrro, Luís Manuel. "Seven Unknown Drawings by Luigi Manini". ATHENS JOURNAL OF HUMANITIES & ARTS 8, n. 3 (11 giugno 2021): 231–60. http://dx.doi.org/10.30958/ajha.8-3-3.
Testo completoAbstract (sommario):
Luigi Manini, set designer at the Nacional Theatre of S. Carlos lived in the second half of the 19th century, which was characterized, in the field of aesthetics, by the transition from romanticism to naturalism. This article aims to analyze seven unknown drawings by Luigi Manini, as an expression and illustration of this artistic period. For this, we analyse the three major periods of art exhibition by Hegel in his work Aesthetics. Integrated in this analysis the evolution of artistic expression, with more emphasis, is illustrated the study of ornamentation, its nature, its importance in stylistic participation and, along its journey, the variation between the expression plane and the content plane that the ornament, as a sign, suffered. To conclude this journey, romanticism, used ornamentation as an evocative element of cultural styles and cultures, consistent with the essence of romanticism: a sublime expression. But in its final phase, romanticism evolved into naturalism that manifests, not the differentiated architectural element, but its collective nature. Urbanism is a social response of Architecture. The ornament loses, at this time, its symbolic value, but maintains its expression plan that was developed with an appreciation of its plastic value. It’s the ornate by the ornate that keeps, still, more time in Belle Époque; in Art Nouveau and Art Deco, to disappear completely in Modernism. These drawings, from an affirmation phase of Luigi Manini’s, are integrated at this time, and their analysis will be concluded from the historical conclusion of this article.
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Hodgson, Derek, e Paul Pettitt. "The Origins of Iconic Depictions: A Falsifiable Model Derived from the Visual Science of Palaeolithic Cave Art and World Rock Art". Cambridge Archaeological Journal 28, n. 4 (3 maggio 2018): 591–612. http://dx.doi.org/10.1017/s0959774318000227.
Testo completoAbstract (sommario):
Archaeologists have struggled for more than a century to explain why the first representational art of the Upper Palaeolithic arose and the reason for its precocious naturalism. Thanks to new data from various sites across Europe and further afield, as well as crucial insights from visual science, we may now be on the brink of bringing some clarity to this issue. In this paper, we assert that the main precursors of the first figurative art consisted of hand prints/stencils (among the Neanderthals and early Homo sapiens) and a corpus of geometric marks as well as a hunting lifestyle and highly charged visual system for detecting animals in evocative environments. Unlike many foregoing arguments, the present one is falsifiable in that five critical, but verifiable, points are delineated.
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Friques, Manoel Silvestre. "Piauí é aqui: as pinturas rupestres piauienses entre a Arqueologia e a História da Arte". Visualidades 15, n. 2 (19 dicembre 2017): 11. http://dx.doi.org/10.5216/vis.v15i2.47767.
Testo completoAbstract (sommario):
O artigo coteja as pinturas rupestres piauienses com algumas interpretações das imagens pré-históricas desenvolvidas no âmbito da História da Arte. Para isso, recupera o sistema taxonômico elaborado por Niède Guidon (1985; 1989), observando aí a presença de algumas noções postas à prova pela produção artística moderna e contemporânea. O questionamento do enquadramento convencional da História da Arte motiva também uma reconsideração do conceito de arte a partir dos registros rupestres piauienses. Por fim, frente à inadequação dos pares conceituais encontrados na área – em especial, a oposição entre naturalismo e geometrismo – propõe-se uma leitura das imagens piauienses enquanto escrituras multinaturalistas, conforme a noção concebida por Eduardo Viveiros de Castro (2015). AbstractThe article contrasts Piauí’s rock paintings with some interpretations of the prehistoric images found within the context of the History of Art. To that end, it recovers the taxonomic system elaborated by Niède Guidon, observing the presence of some notions put to the test by the modern and contemporary artistic production. The questioning of History of Art conventional framework also motivates a reconsideration of the concept of art from the Piauí rupestrian records. Finally, regarding the inadequacy of conceptual pairs found in the area – especially the opposition between naturalism and geometrism – it is proposed a reading of Piauí images as multinaturalist writings, according to the notion conceived by Eduardo Viveiros de Castro (2015). ResumenEl artículo compara las pinturas rupestres piauienses con algunas interpretaciones de las imágenes prehistóricas desarrolladas en el ámbito de la historia del arte. Para eso, recupera el sistema taxonómico elaborado por Niède Guidon (1985; 1989), observando allí la presencia de algunas nociones puestas a prueba por la producción artística moderna y contemporánea. El cuestionamiento del encuadramiento convencional de la historia del arte produce también una reconsideración del concepto de arte a partir de los registros rupestres piauienses. Por último, frente a la inadecuación de los pares conceptuales encontrados en el área – en especial, la oposición entre naturalismo y geometrismo – se propone una lectura de las imágenes piauienses como escrituras multinaturalistas, según la noción concebida por Eduardo Viveiros de Castro
34
VOREL, Jan. "From Searching for Cultural Integrity to Symbolism of Temple Building and the Organic Picture of Reality". Bohemistyka, n. 4 (3 novembre 2021): 437–57. http://dx.doi.org/10.14746/bo.2021.4.1.
Testo completoAbstract (sommario):
The article is focused mainly on aesthetic-philosophical constants of the work of art of Julius Zeyer. The author of the article tries to point out that Zeyer´s conception of art is tightly connected with artistic conceptions of the rising literary symbolistic generation: His aesthetic-philosophical system contains strong protest against rationalism, realism and naturalism in contemporary literature and underlines the way to subconscious roots of human existence; it turns away from rational understanding of the world and the mystical intuition of inner and organic life in modern literature. In the article the motifs of temple building and motifs of creating the organic picture of the world in Zeyer´s work of art are analysed. The article also contains main references to Zeyer´s work of art published by reputable names of the Czech and European literary criticism.
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Linden, Delanie. "The Art and Chemistry of Replicating Oil Paintings into Woven Textiles". Journal of Interdisciplinary History 55, n. 1 (2024): 89–114. http://dx.doi.org/10.1162/jinh_a_02033.
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Abstract The prominence of chiaroscuro in late eighteenth-century French oil painting posed significant challenges for tapestry weavers, which led artisans and chemists to seek chemical solutions for replicating in textiles the style’s high contrast between light and dark. Textile manufacturers struggled to reproduce the intense gradations of painters like Jacques-Louis David, and innovations in dye technology were driven by the need to match the naturalism and Enlightenment symbolism of contemporary paintings. Napoleon’s investment in dye chemistry and the establishment of a dyeing school aimed to standardize colorants and rebrand traditional arts with political imagery. The integration of scientific expertise in the decorative arts led to advancements that laid the groundwork for future developments in synthetic colorants.
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Davis, Jared Vaughan. "“Poetic naturalism” as a way beyond the postmodern tensions between art and science". Cardiovascular Diagnosis and Therapy 8, n. 6 (dicembre 2018): 825–26. http://dx.doi.org/10.21037/cdt.2018.03.04.
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Innis, Robert E. "Aesthetic Naturalism and the «Ways of Art»: linking John Dewey and Samuel Alexander". RIVISTA DI STORIA DELLA FILOSOFIA, n. 3 (giugno 2017): 513–32. http://dx.doi.org/10.3280/sf2017-003009.
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Esposito, Luca. "reality effect': the figure seen from behind in Carracci's art". Acta ad archaeologiam et artium historiam pertinentia 32, n. 18 N.S. (13 settembre 2021): 9–28. http://dx.doi.org/10.5617/acta.9025.
Testo completoAbstract (sommario):
This article focuses on Carracci's frequent use of the figure seen from behind in their graphic and pictorial oeuvre (i.e., in the frescoes in Palazzo Fava, in the Cloister of San Michele in Bosco by Ludovico, in the series of the body in art by Annibale, and the engravings Ogni cosa vince l'oro by Agostino). It claims that the figure seen from behind plays a rhetorical function instrumental to the Carracci's search for a new form of naturalism in painting. In particular it creates a 'reality effect' that enhances the naturalistic rendering of the pictorial composition. On cover:ANNIBALE CARRACCI (BOLOGNA 1560 - ROME 1609), An Allegory of Truth and Time c. 1584-1585.Oil on canvas | 130,0 x 169,6 cm. (support, canvas/panel/str external) | RCIN 404770Royal Collection Trust / © Her Majesty Queen Elizabeth II 2021.
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Sijia, Liu. "Naturalism in the Painting of the Leiden School and its Chief Representatives". ICONI, n. 2 (2021): 41–47. http://dx.doi.org/10.33779/2658-4824.2021.2.041-047.
Testo completoAbstract (sommario):
The article is devoted to Dutch art — the Leiden School in Holland in the 17th century. The author analyzes the defi nition, particularities and the theoretic foundations of the characteristics and the artistic legacy of the painters — the representatives of the Leiden school and also demonstrates the close connection between naturalism and the particularities of the paintings of the school’s adherents and the uniqueness of the works by such masters as Rembrandt Harmenszoon van Rijn, Gerrit Dou and Frans van Mieris the Elder.
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Belodubrovskaya, Maria. "Abram Room,A Strict Young Man, and the 1936 Campaign against Formalism in Soviet Cinema". Slavic Review 74, n. 2 (2015): 311–33. http://dx.doi.org/10.1017/s0037677900001443.
Testo completoAbstract (sommario):
This article addresses the aesthetic history and banning of Abram Room'sStrogii iunosha(A strict young man, 1936) in the context of the 1936 campaign against formalism and naturalism in Soviet art. I show that the film's experimental style was not the cause of its banning and argue that the antiformalism campaign was a political rather than aesthetic event. What the campaign demanded was a shift in mode, from form centered to theme centered, and it was this disruptive shift that rendered Soviet cinema unproductive after 1936.
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Elsner, John. "Image and ritual: reflections on the religious appreciation of classical art". Classical Quarterly 46, n. 2 (dicembre 1996): 515–31. http://dx.doi.org/10.1093/cq/46.2.515.
Testo completoAbstract (sommario):
It is a cliché that most Greek art (indeed most ancient art) was religious in function. Yet our histories of Classical art, having acknowledged this truism, systematically ignore the religious nuances and associations of images while focusing on diverse arthistorical issues from style and form, or patronage and production, to mimesis and aesthetics. In general, the emphasis on naturalism in classical art and its reception has tended to present it as divorced from what is perceived as the overwhelmingly religious nature of post-Constantinian Christian art. The insulation of Greek and Roman art from theological and ritual concerns has been colluded in by most historians of medieval images. Take for instance Ernst Kitzinger's monographic article entitled ‘The Cult of Images in the Age before Iconoclasm’. Despite its title and despite Kitzinger's willingness to situate Christian emperor worship in an antique context, this classic paper contains nothing on the Classical ancestry of magical images, palladia and miracle-working icons in Christian art. There has been the odd valiant exception (especially in recent years), but in general it is fair to say that the religiousness of antiquity's religious art is skirted by the art historians and left to the experts on religion.
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Robles de la Pava, Juliana. "El entramado visual y una reiteración de la tradición visual occidental en la serie “PICTURE WINDOWS” / The textual framework and the reiteration of the western sight tradition in “PICTURE WINDOWS” series". Revista Internacional de Cultura Visual 3, n. 2 (26 ottobre 2016): 111–23. http://dx.doi.org/10.37467/gka-revvisual.v3.392.
Testo completoAbstract (sommario):
ABSTRACTThe relevance of the representative tradition gets highlighted with a number of productions in the world of visual culture, demanding an analysis that question the own statute and condition of possibility of those images. The series of photographs by John Pfahl "PICTURE WINDOWS" proposes, from this analysis, an approach to the so-called scopic regime, referencing its inevitable link with visual memory constituted within the history of Western art. It is a possible way to revisit the narrative of Naturalism that has remained in a diversity of productive ways fell across by new types of images.RESUMENLa relevancia de la tradición representativa sustentada en la construcción perspéctica del espacio se pone de relieve en múltiples producciones del mundo de la cultura visual, demandando un análisis que cuestione el propio estatuto y condición de posibilidad de aquellas imágenes. La serie fotográfica de John Pfahl “PICTURE WINDOWS” propone, desde este análisis, un acercamiento a la denominada episteme escópica referenciando su vínculo ineludible con la memoria visual constituida dentro de la historia del arte de occidente. Es una manera posible de revisitar aquella narrativa del Naturalismo que ha permanecido en diversidad de formas productivas atravesadas a su vez por nuevas modalidades de la imagen.
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Rosser, Gervase. "Beyond Naturalism in Art and Poetry: Duccio and Dante on the Road to Emmaus". Art History 35, n. 3 (4 aprile 2012): 474–97. http://dx.doi.org/10.1111/j.1467-8365.2011.00897.x.
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Milz, Manfred. "ECHOES OF BERGSONIAN VITALISM IN SAMUEL BECKETT'S EARLY WORKS". Samuel Beckett Today / Aujourd'hui 19, n. 1 (1 agosto 2008): 143–54. http://dx.doi.org/10.1163/18757405-019001012.
Testo completoAbstract (sommario):
From 1889 to 1934, Henri Bergson differentiated between two aspects of a dynamic naturalism: on the one hand, a rationalized "homogeneous duration" that quantifies a dissected reality by means of symbolisation, and on the other hand, intuited "heterogeneous moments" that dissolve symbols in representing continuously interpenetrating elements qualitatively. These concurring vitalistic conceptions, one of an intellectual, the other of an intuitive nature, can equally be detected in Beckett's attempts to integrate being into art. This comparative inquiry examines resonances of Bergson's vitalism as residual elements of his fading influence in Beckett's early works.
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Morrison, James. "The House of Mirth". Film Quarterly 55, n. 1 (2001): 49–51. http://dx.doi.org/10.1525/fq.2001.55.1.49.
Testo completoAbstract (sommario):
The great British filmmaker Terence Davies adapts Edith Wharton's American classic, The House of Mirth, and the sensibilities of author and filmmaker mesh unexpectedly, producing a film of uncommon delicacy. Simulating the traditional costume drama as it has been codified by such directors as James Ivory, Davies actually works against the most entrenched conventions of the genre by countering naturalism with artifice. This review of Davies's film examines the aesthetic strategies of this extraordinary adaptation, and places the film in the context of Davies's work and contemporary art cinema more generally.
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Wien, Iris. "Day-light. A recent discovery in the art of painting Ein kunstkritisches Pamphlet des frühen 19. Jahrhunderts". Zeitschrift für Kunstgeschichte 81, n. 1 (12 ottobre 2018): 111–35. http://dx.doi.org/10.1515/zkg-2018-0005.
Testo completoAbstract (sommario):
Abstract Henry James Richter’s 1817 pamphlet Day-light. A recent discovery in the art of painting; With hints on the philosophy of the fine arts, and on that of the human mind, as first dissected by Emanuel Kant has been read as a plea for naturalism in the context of early-nineteenth-century pleinair painting. The tract prompts painters to take the recently discovered phenomenon of colored shadows into account instead of basing their painterly practice on pictorial conventions. Although noticed, the peculiar form of the little treatise – consisting of thirteen pages of a fictive dialogue between artists and extensive notes devoted to fundamental epistemological questions – has not been further scrutinized. In the light of the sociopolitical conflicts of the time, however, the pamphlet takes on an allegorical dimension exceeding its art-critical objective.
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Cherkasov, Danila Sergeevich. "Nudity in the fine art of Austria-Hungary at the turn of the 19th and 20th centuries. Idealization, naturalism and eroticism". Pan-Art 4, n. 2 (3 giugno 2024): 120–25. http://dx.doi.org/10.30853/pa20240018.
Testo completoAbstract (sommario):
The study aims to identify the main directions that the fine art of Austria-Hungary at the turn of the 19th and 20th centuries followed in the field of portraying the nude human body. To do so, a number of works by Austro-Hungarian masters (G. Klimt, K. Moser, O. Kokoschka, F. von Bayros, M. Liebermann, etc.) who worked during the specified period were analyzed on the basis of the collections of museums in Vienna, as well as electronic collections and catalogs of other foreign museums. The analysis helped to identify three main trends in nudity depiction: idealization, characteristic of conservative art; opposed to idealization, naturalism, found in the works by more progressive artists; and eroticism, which represents a balance between the two aforementioned extremes, in other case the work loses its erotic charge. Although depictions of nudity are often the subject of art criticism, the three-part classification developed for this study seems to be a new and productive form of examining the topic.
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Shortland, Michael. "Unnatural Acts: Art and Passion on the Mid-Eighteenth-Century Stage". Theatre Research International 12, n. 2 (1987): 93–110. http://dx.doi.org/10.1017/s0307883300013444.
Testo completoAbstract (sommario):
The so-called ‘theatrical revolution’ of the mid-eighteenth-century is generally hailed as the turning point in the history of English acting patterns, writing styles and playhouse management. As with any revolution, its origins and development have been described by leading participants from the viewpoint of the victor. It is a story of the pioneering labours of such figures as David Garrick and Charles Macklin rendering new performances, of old plays being reset and recast, of puffing up the pride and the prestige of the profession of actors and actresses. In true revolutionary manner, the accumulated weight of tradition which had borne down so heavily on individual talents, narrowing and stifling them, was cast aside. Under the banner of‘realism’ (in some accounts ‘naturalism’), a new generation of actors breathed life into dusty theatres and threw down the challenge of novelty: new styles, new acting manuals, new forms of expression, new representations on stage.
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Belobratov, Alexander V. "Art nouveau period: borders and concepts". Semiotic studies 1, n. 1 (19 aprile 2021): 33–41. http://dx.doi.org/10.18287/2782-2966-2021-1-1-33-41.
Testo completoAbstract (sommario):
The article offers an extensive overview of modern approaches to definition of art nouveau as a literary era and to establishing its chronological boundaries. There have been analyzed main variations of the self-definition of the era as well as researchers attempts to find an appropriate definition to this complex aesthetic phenomenon. The extended interpretation of art nouveau as a macroepoch is examined, the period dating back to the end of the 18th century and connected primarily with the artistic system of Romanticism. Based on the aesthetic manifestos of German Naturalism, the meaning of the literary situation in 1880th Germany is examined, where the widespread proclamations of the aesthetic revolution and modern attitudes coexisted with the adherence to the deterministic aesthetics of the previous decades. The leading trends in the culture of the fin de sicle are connected with the onset of the first stage of art nouveau in the art and literature of 1890-1900, soon to be replaced by avant-garde art at the turn of the second decade of the new century. Avant-garde, which associated itself with modernity, was mainly destroying already established art forms. This article suggests that the literary avant-garde as a project of the future manifests a utilitarian approach to the attitudes of the art nouveau on the brink of the new century, making art nouveau accessible for the audience and bringing the artist into the space of political interaction with the society.
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Polefrone, Phillip R. "The Stock Ticker in the Garden: Frank Norris, American Literary Naturalism, and Capitalocene Aesthetics". American Literature 92, n. 3 (1 settembre 2020): 485–511. http://dx.doi.org/10.1215/00029831-8616163.
Testo completoAbstract (sommario):
Abstract This essay argues that American literary naturalism engages with the Anthropocene at the moment it began to be visible, the turn of the twentieth century, and specifically identifies the role of finance in precipitating the crisis. Frank Norris’s The Octopus (1901) and The Pit (1903) offer a case study of a naturalist Capitalocene aesthetics, one capable of capturing global capitalism’s destructive planetary agency. As a student at the University of California at Berkeley, Frank Norris was exposed to Joseph LeConte’s influential theory of the Psychozoic era, a proto-Anthropocene theory from 1877 that named a new unit of geologic time in light of humanity’s status as a transformative planetary force. Norris adapted this theory into a critique of a rapidly globalizing capitalism’s effects on the planet and the natural world, particularly the structures of agricultural capitalism in which complex financial transactions led to destructive wheat monocultures. This critique anticipated the Capitalocene, a contemporary offshoot of the Anthropocene theory arguing that capitalism (rather than humanity per se) is responsible for the present planetary crisis. The vehicle of Norris’s critique is his multimedia landscape descriptions, which invoke and subvert Romantic landscape aesthetics through painterly language and visual paradox. At the center of this aesthetics is a contradiction in individual and collective agency that is also central to life and art in the Capitalocene: confronted with an anthropogenic landscape that is both destroyed and made sublime by the structures of capitalism, individual viewers both feel powerless in the face of the force it represents and feel themselves implicated in its creation, despite different levels of responsibility.