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Artykuły w czasopismach na temat "Art criticism – history – 20th century"
1
Babunych, Yulia. "Ukrainian art studies of the 20th century: ways of development and main problems of research." Bulletin of Lviv National Academy of Arts, nr 51 (10.10.2023): 4–13. http://dx.doi.org/10.37131/2524-0943-2023-51-1.
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It has been investigated that Ukrainian art history in its historical development has followed a path characteristic of European artistic thought. The tasks faced by Ukrainian art history at the beginning of the 20th century are considered. During 1905–1917, art history in Ukraine acquired signs of structure, the directions of research were quite clearly defined. Based on the analysis of art studies of the 1920s, it was determined that they are characterized by a combination of clear retrospective vision, methodically correct handling of iconographic sources. The fact that the problem of national peculiarities of Ukrainian art history, its origins, driving factors, and priorities is of fundamental importance has been revealed. The article states that the Soviet totalitarian regime initiated a new stage of the «state» approach to the development of national inversions of science, literature and, in particular, art history. It was found out that specific conclusions regarding the national style were removed from many works of domestic art researchers by censorship. The need to organize and harmonize with the national historical concept of chronology and periodization of Ukrainian art history remains an equally urgent task. In this regard, the publication is supplemented with tables with a chronology of cultural events and publications of art-historical publications. It was found that Ukrainian art history actively developed in the context of the general national revival. With the beginning of totalitarian repressions and the liquidation of literary and artistic associations in the Ukrainian SSR (1932), the development process moved to western Ukrainian lands, primarily to Lviv. It was noted that in the post-war period, after well-known socio-political and socio-cultural changes, art history, art criticism, as well as artistic creativity throughout the territory of Ukraine, were united under one ideological slogan of socialist realism. It is emphasized that an important role in this difficult period was played by Ukrainian figures of culture, science and art of the diaspora. It is revealed that Ukrainian art history of the second half of the 20th century developed in difficult socio-political and cultural conditions. It has been found that the second half of the 20th century, marked by the repeated "revival" of the socialist realist method, nevertheless proved the continuity of the development of the national concept in the field of art history. A new stage logically began during the years of independent Ukraine. It is highlighted that the national concept of the historical development of Ukrainian culture and art has become the leading one in the domestic humanitarian field. It is important that the revival of Ukrainian art criticism has begun.
2
Alberro, Alexander, Homi Bhabha, Alejandra Castillo, Keti Chukhrov, T. J. Demos, Keyna Eleison, Irmgard Emmelhainz i in. "What is Radical?" ARTMargins 10, nr 3 (październik 2021): 8–96. http://dx.doi.org/10.1162/artm_a_00301.
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Abstract What does it mean to think and act radically, and how does this relate to forms of radicalism connected to earlier moments, for example, in the 20th century? What can be the role of radical art and scholarship under the conditions of late capitalism? More generally, how can art and artists serve the ongoing struggle for social justice and the agendas of emancipatory social change? Finally, what kinds of art criticism and art historical scholarship are necessary to address the great challenges of our uncertain future?
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TSYHANYK, Мyroslava. "THE THEATRICAL AND CRITICAL JOURNALISM OF “YOUNG MUSE” THROUGH THE PRISM OF MODERNIST VISIONS IN THE FIRST DECADE OF THE 20TH CENTURY". Bulletin of the Lviv University. Series of Arts Studies 199, nr 23 (2022): 75–81. http://dx.doi.org/10.30970/vas.23.2022.12196.
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The early 20th century in world art was a vibrant period as it inspired enthusiasm for everything from eStablished traditions, and relinquished widely accepted norms of artiStic interpretation. Modernism and the avant-garde gradually transformed all artiStic fields, shaping a new rhetoric for Stage art and, consequently, theatrical criticism. It was during this period that Ukrainian theatrical criticism emerged, one of the branches of theater Studies. As an active participant in the process, it formulated the terminological dictionary and phraseology of theatrical criticism. The key theater Studies processes of the firSt decade of the 20th century took place within the “Young Muse” group, which included well-known Ukrainian theater theoriSts such as S. Charnetsky, M. Rudnytsky, V. Birchak, P. Karmansky, B. Lepy, O. Lutsky, and S. Tverdokhlib. They advanced theatrical criticism in Galicia, developed concepts for representing Stage art in Ukraine, and viewed it through the prism of the pan-European theater Studies paradigm from the late 19th to the early 20th century. The text suggeSts that through the textual analysis of reviews by the “young generation” literary movement, the focus was typically on the play’s title and its author. The discussions revolved around the dramaturgy, mentioning directors, actors, Stage decorations, and occasionally the audience’s reactions. The themes of these reviews were aimed at describing the theatrical consciousness of the era, and the StyliStic expression captured new theatrical terminology and phraseology. The semantic interpretation of these elements always requires a broader context of Study. The publications by the “young generation” are intereSting not only in terms of the Structure of theatrical-critical texts but also in the information that shapes the model of theater in Galicia in the firSt half of the 20th century. This model can be further explored in accordance with its evolution. The “Young Muse” generation of theater critics has taken a significant place in the formation and development of theater Studies as a science. They hold a prominent position in the sourcebased content of the hiStory of Ukrainian theater in Galicia.
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Kuhutiak, Mykola, Ihor Raikivskyi i Oleh Yehreshii. "Halychyna. Journal of Regional Studies: Science, Culture, and Education. Twenty Years of Publishing Activity". Journal of Vasyl Stefanyk Precarpathian National University 4, nr 2 (30.10.2017): 134–38. http://dx.doi.org/10.15330/jpnu.4.2.134-138.
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This is a review of the twenty-year-long publishing activity of Halychyna. Journal of Regional Studies: Science, Culture and Education, one of the first Ukrainian journals for historians, philologists, art critics that appeared in the independent Ukraine. In Halychyna, there has been published the works by well-known scholars of Vasyl Stefanyk Precarpathian National University and many other higher educational establishments of Ukraine. The Journal can boast an array of sections – archaeology, history, ethnology, political science, historiography, source studies, documents and materials, culturology, art criticism, historical biography studies, and others. Most of the studies published in Halychyna focus on the issues of the modern and contemporary history of Ukraine, ethnology. A special attention is given to the issues of the Ukrainian national liberation movement in the 20th century, the Ukrainian national revival in the 19th–20th century, the activity of the political parties in Galicia in the late 19th–early 20th century, source studies and historiography in Ukraine, historical regional studies, the problems of modern state formation in Ukraine, and others
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Glinternik, Eleonora M. "Russian Design Graphics in Art Studies of the 19th–21st Centuries". Vestnik of Saint Petersburg University. Arts 13, nr 1 (2023): 166–87. http://dx.doi.org/10.21638/spbu15.2023.108.
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The article is devoted to the historiographic problem of domestic design graphics in the history of Russian art. The analysing sources are structured in accordance with the main stages of the development of graphic design in Russia. This approach allows to visually trace the evolution of art history in the context of the corresponding cultural and historical era. In chronological order, the article examines the following periods: 18th — early 20th century, an era that can be called the protodesign period; 1920s–1930s, a period of active development of a new professional model, interrupted for the next twenty years; 1960s–1990s, a period of professional self-determination; the first decades of the 21st century, when the digital age begins and new horizons of research open up. The characteristics of each period are given from the point of view of the development of graphic design as a phenomenon of artistic creativity. The paper’s novelty is determined by the topic itself: the specifics of design in general and graphic design in particular have not yet been studied. It takes into account, basically, the range of problems studied in the Russian conventional history of art. The main tasks of the work: to show the path of development of art criticism in the work of Russian researchers; to systematize the volume and problems of the latest studies of art history over the past decades; to contribute to the formation of a more complete picture of the authors and the amount of accumulated research material. The article shows the path of development of art criticism in the work of Russian researchers — from artistic-critical to historical-theoretical comprehension throughout the 19th and 21st centuries. The foundations of fundamental research of the late 20th — early 21st century are revealed are systematized for the first time.
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Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn". Journal of Flm Arts and Film Studies 11, nr 1 (15.03.2019): 82–98. http://dx.doi.org/10.17816/vgik11182-98.
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Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nicolai A. "Modern art history as a human science in a situation of cultural turn". Journal of Flm Arts and Film Studies 11, nr 2 (15.06.2019): 102–15. http://dx.doi.org/10.17816/vgik112102-115.
Pełny tekst źródłaStreszczenie:
Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nikolai A. "Modern art history as a human science in a situation of cultural turn". Journal of Flm Arts and Film Studies 11, nr 3 (13.11.2019): 94–106. http://dx.doi.org/10.17816/vgik11394-106.
Pełny tekst źródłaStreszczenie:
Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts self-protection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requires a deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Khrenov, Nikolay. "Modern Art History As a Human Science in a Situation of Cultural Turn". Journal of Flm Arts and Film Studies 11, nr 4 (30.12.2019): 98–113. http://dx.doi.org/10.17816/vgik11498-113.
Pełny tekst źródłaStreszczenie:
Intensive development of knowledge in the 20th century, including the emergence of new sciences and humanities, constantly creates a problematic situation in the sphere of art, shifting arts designation to what in the philosophy of science is known as normal science. This is associated with the idea of art as a science that has reached a stage of maturity and consistency and, therefore, complies with its norms. The concept of art as normal science is characterized by a certain degree of conservatism, as it presupposes arts selfprotection against deviations from the established methodology.
However, sometimes the artistic processes of modernity require different approaches. In addition, the emergence of new humanities shifts the already established methodology of art. This happened in the first decades of the 20th century, in the era of a linguistic turn in the humanities, indicating the invasion of natural sciences in the humanities; and this is happening today, at the turn of the 21st century, in a situation of a cultural turn, the emergence and intensive development of the science of culture. The current turn requiresa deeper understanding of the structure and components of art history, i.e., its sub-disciplines: art history, art theory and art criticism.
The essay argues that in the situation of cultural turn the theory of art can carry out functions which the other two sub-disciplines cannot. It propounds that art theory is able to make a decisive contribution to the elucidation of two problems: the relationship between art and cultural studies and the problem of historical time, which is important both for contemporary art and for art history.
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Kozhukharov, Roman R. "“Miriskusniki” and the genesis of acmeistic searches (about the review of one exhibition)". Philological Sciences. Scientific Essays of Higher Education 2, nr 2 (marzec 2024): 94–100. http://dx.doi.org/10.20339/phs.2.2-24.094.
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The article presents the experience of comprehension V. Narbut’s publication “Mir Iskusstva” (“The World of Art”) in the St. Petersburg newspaper “Theater and Sport”. The article, dedicated to the exhibition of the same name, is written in the genre of art criticism, unique for the poet’s creative biography, and is perceived as a capacious manifestation of the author’s artistic preferences. The significance of comprehension this publication is due to its chronological correlation not only with the beginning of the poet’s creative path, but also with key events in the history of Russian literature at the beginning of the 20th century.
Rozprawy doktorskie na temat "Art criticism – history – 20th century"
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Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.
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The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.
2
Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /". Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.
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Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction". Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
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Brazil, Kevin. "The work of art in postwar fiction, 1945-2001". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:f8102451-09cf-4f92-8e6e-e7c1ced2641c.
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'The Work of Art in Postwar Fiction 1945-2001' explores the responses of postwar novelists to visual art by focusing on the work of Samuel Beckett, William Gaddis, John Berger and W.G. Sebald. In doing so, it opens up a new approach to understanding the relationship between fiction and art in the postwar period as a whole, for what distinguishes these writers is that they use an engagement with visual art in order to historicize their own work as distinctly 'postwar' fiction. This thesis shows that in the writings of these novelists, long running aesthetic issues in the study of the relationship between text and image are reformulated and transformed: medium specificity; ekphrasis; and visual representation as a model for literary realism. Drawing throughout on original archival research, The Work of Art in Postwar Fiction 1945-2001 traces what T.J. Clark terms the 'processes of conversion and relation' between art, its contexts and its commentators, and it is by studying these mediations that the literary consequences of the work of art for these writers are shown. With a historicizing approach throughout, and an interest in the ways in which postwar novelists mediate their engagement with art through history, this thesis contributes to a new understanding of the literature and art of the postwar era, or what Amy Hungerford has called 'the period formerly known as contemporary'. This thesis offers a revisionary account of a relationship previously subsumed under the dominant logic of postmodernism, which according to Fredric Jameson was defined by a 'waning of historicity'. In returning historicity as method and theme to the study of the relationship between literature and art since 1945, The Work of Art in Postwar Fiction 1945-2001 shows the diverse ways in which postwar writers historicized their writing, and reflected on their techniques, in dialogue with visual art. Concerning itself with the distinct challenges posed by focusing on what Hannah Ardent called the 'most recent' past, this thesis also develops new ways of thinking more broadly about the relationships between literature, art and history. Chapter 1, 'Reviewing Postwar Fiction', situates this thesis within recent debates in literary studies surrounding what Mark McGurl has termed a discipline-wide 'hegemony of history'. Chapter 2, on Samuel Beckett, argues that Beckett's postwar art criticism responds to a specific strand of Marxist humanist aesthetics developed after the war, and it studies Beckett's manuscripts to show the relationship between this criticism and the composition of The Unnamable. Chapter 3 discusses William Gaddis's 1955 novel The Recognitions, arguing that the novel pivots around some of the central cruxes of postwar American aesthetic debate: Clement Greenberg's theory of abstraction, and Michael Fried's identification of the problem of 'art and objecthood'. Chapter 4 discusses the work of the British art critic and novelist, John Berger. It shows that Berger's critical account of Cubism shaped the narrative forms of his novels A Painter of Our Time and G., and that these narrative innovations were central to his theory of the artistic and revolutionary 'moment'. Chapter 5 focuses on the relationship between photography, painting and aesthetics in the work of W. G. Sebald. It argues that aesthetic concepts such as 'the readymade' and 'objective chance' offer a better account of Sebald's engagement with art than accounts which draw on trauma theory. The thesis concludes with a short discussion of how the writers studied in this thesis have influenced the contemporary fiction of Jonathan Franzen, Teju Cole, and Tom McCarthy.
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Ferris, Natalie. "'Ludic passage' : abstraction in post-war British literature, 1945-1980". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:5b3034e6-3a32-4684-b8a0-eb91cfc756c6.
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This thesis traces a line of literary experimentation in post-war British literature that was prompted by the aesthetic, philosophical and theoretical demands of abstraction. Spanning the period 1945 to 1980, it observes the ways in which certain aesthetic advancements initiated new forms of literary expression to posit a new genealogy of interdisciplinary practice in Britain. It is the first sustained chronological study to consider the ways in which a select number of British poets, authors and critics challenged the received views of their post-war moment in the discovery of the imaginative and idealizing potential of abstraction. At a time in which Britain became conscious of its evolving identity within an increasingly globalised context, this study accounts for the range of Continental and Transatlantic influences in order to more accurately locate the networks at play. Exploring the contributions made by individuals, such as Herbert Read, Ian Hamilton Finlay and Christine Brooke-Rose, as well as by groups of practitioners, such as the British concrete poetry movement, small press initiatives and Art & Language, this thesis offers a comprehensive account of the evolving status of abstraction across cultural, institutional and literary contexts. The discussions build a vision of an era that increasingly jettisons the predetermined critical lexicon of abstraction to generate works of a more pragmatic abstract inspiration: the spatial demands of concrete poetry, language as medium in the conceptual artwork, the absence of linear plot in the new novel.
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McKnight, Justine. "Redefining The Art Experience : From Static To Temporal Art Forms". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.
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This research examines an approach to art making and viewing that questions the acceptance of the autonomous object in favour of a transient experience. It focuses specifically on work and writing from the 1960s by the American artist Robert Morris that attempted to alter the then predominant Formalist understanding of the art object as autonomous and self-referential. This investigation follows the formal and conceptual development of Morris' work (and that of associated artists Richard Serra and Rafael Ferrer) with particular focus on the shift from static objects to time-based and transient an-forms including film/video and installation. I address the influence that the shift from static to temporal forms has had on the experience of art such as opening artwork to deeper levels of metaphysical association and visceral response. This discussion also examines parallel issues that have emerged within my own work's conceptual and formal development. In relation to the investigation of these developments I shall contextualise and locate my recent arts practice.
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Fox, Peter Holden. "Textual apparitions: power, language, and site in the work of Jenny Holzer". Pomona College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,10.
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Jenny Holzer's text-based projects have attracted the attention of critics, historians, and curators from Des Moines to Dresden. An understanding of the complex interplay between language, gender, power, and site within Holzer's work demonstrates how a singular interpretive approach is insufficient for discussing the multitude of meanings her projects produce. Perhaps most significantly, a fresh analysis of Holzer's work and critical reactions to it challenges the story of modernism and postmodernism and the relationship between these two terms.
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Byers, Mark. "After the new failure of nerve : Charles Olson and American modernism, 1946-1951". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:02478ea1-832a-4ecc-9c47-a264ba746c49.
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One medium has dominated accounts of American art in the years following the Second World War. The period witnessed, in the words of one critic, a 'Triumph of American Painting', with advances in the easel picture far surpassing those in other media. Whilst more recent accounts have nuanced this view, drawing attention to developments in music and sculpture, literary contributions to the new American modernism have gone almost without assessment. Were there advances in literature comparable to those of Mark Rothko and Barnett Newman, David Smith and John Cage? Drawing extensively on his unpublished writings, After the New Failure of Nerve reveals the poet Charles Olson to have been the keenest literary advocate of the new American avant-garde and one of the most astute observers of its conditions and possibilities. Paying special attention to unpublished notes, lectures, and correspondence, the thesis utilises Olson's early writings in order to examine the momentum given early postwar modernism by a potent contemporary reaction against abstract rationality, a reaction identified at the time as a 'New Failure of Nerve'. Born of recent disillusionment with 'scientific' Marxism and New Deal progressivism, the thesis demonstrates the several ways in which this 'New Failure of Nerve' fuelled vanguard American art from the middle of the Second World War to the end of the decade. It argues that the new critique of abstract rationality - which was also reflected in the contemporary American work of the Frankfurt School - defined the way American artists understood the function of postwar modernism, the posture of the postwar modernist artist, and the status of the postwar modernist artwork. This pivotal moment in the history of modernism was shaped, I contend, by a philosophical critique explored most ambitiously by an American poet.
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Click, Sarah D. "Art Song by Turn-of-the-Century Female Composers". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278468/.
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Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of analysis serves as a means to guide musical decisions in the actual performance of the works. The conclusion briefly discusses performance practice issues and the possibility of a turn-of-the-century feminine aesthetic.
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Lin, Lidan. "The Rhetoric of Posthumanism in Four Twentieth-Century International Novels". Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278990/.
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The dissertation traces the trope of the incomplete character in four twentieth-century cosmopolitan novels that reflect European colonialism in a global context. I argue that, by creating characters sharply aware of the insufficiency of the Self and thus constantly seeking the constitutive participation of the Other, the four authors E. M. Forster, Samuel Beckett, J. M. Coetzee, and Congwen Shen all dramatize the incomplete character as an agent of postcolonial resistance to Western humanism that, tending to enforce the divide between the Self and the Other, provided the epistemological basis for the emergence of European colonialism. For example, Fielding's good-willed aspiration to forge cross-cultural friendship in A Passage to India; Murphy's dogged search for recognition of his Irish identity in Murphy; Susan's unfailing compassion to restore Friday's lost speech in Foe; and Changshun Teng, the Chinese orange-grower's warm-hearted generosity toward his customers in Long River--all these textual occasions dramatize the incomplete character's anxiety over the Other's rejection that will impair the fullness of his or her being, rendering it solitary and empty. I relate this anxiety to the theory of "posthumanism" advanced by such thinkers as Marx, Bakhtin, Sartre, and Lacan; in their texts the humanist view of the individual as an autonomous constitution has undergone a transformation marked by the emphasis on locating selfhood not in the insular and static Self but in the mutable middle space connecting the Self and the Other.
Książki na temat "Art criticism – history – 20th century"
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Karl, Ruhrberg, i Walther Ingo F, red. Art of the 20th century. Köln: Taschen, 1998.
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Jürgen, Tesch, i Hollmann Eckhard, red. Icons of art: The 20th century. Munich: Prestel, 1997.
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Barret, Terry. Why is that art?: Aesthetics and criticism of contemporary art. New York: Oxford University Press, 2008.
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Barret, Terry. Why is that art?: Aesthetics and criticism of contemporary art. Oxford: Oxford University Press, 2007.
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1955-, Roberts John, red. Art has no history!: The making and unmaking of modern art. London: Verso, 1994.
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Gavin, Butt, red. After criticism: New responses to art and performance. Malden, MA: Blackwell, 2005.
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Michele, Bottalico, red. Literature and the Visual Arts in 20th-Century America. Bari: Palomar, 2003.
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Gavino, Julianne, i Rebecca Tucker. Rethinking regionalism: 20th century American art and visual culture. Colorado Springs, Colo: Colorado Springs Fine Arts Center at Colorado College, 2021.
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Uta, Grosenick, i Becker Ilka, red. Women artists in the 20th and 21st century. Köln: Taschen, 2003.
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Hirsh, Sharon L. Grace Hartigan: Painting art history. Carlisle, PA: Trout Gallery, Dickinson College, 2004.
Znajdź pełny tekst źródłaCzęści książek na temat "Art criticism – history – 20th century"
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Körner, Hans. "Speared Heads. Portraits as Things in 20th-Century Sculpture". W Art History and Fetishism Abroad, 57–70. Bielefeld, Germany: transcript Verlag, 2014. http://dx.doi.org/10.14361/9783839424117-003.
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Kravagna, Christian. "Encounters with Masks: Counter-Primitivism in 20th-Century Black Art". W Art History and Fetishism Abroad, 189–204. Bielefeld, Germany: transcript Verlag, 2014. http://dx.doi.org/10.14361/9783839424117-010.
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Winner, Ellen. "Making Art Education Academic". W An Uneasy Guest in the Schoolhouse, 77–90. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190061289.003.0006.
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This chapter discusses the revolt against progressive art education spearheaded by Elliot Eisner in the form of Discipline-Based Art Education (DBAE). Whereas progressive art education was a reaction against the mind-numbing method inflicted on children in the 19th century, DBAE was a reaction against an extreme form of progressive art education that resulted in a hands-off, laissez-faire approach. DBAE called for art education to include not only studio art but also art history, art criticism, and aesthetics. It called for the development of a sequential curriculum by experts and rigorous assessment of learning. The strengths of DBAE included the insistence that art be a necessary part of general education with funding equivalent to that given to other school subjects, as well as a refusal to justify arts education in terms of something else—whether manual dexterity and skills for industry (as in the 19th century) or personal and emotional development (as in the first half of the 20th century). However, DBAE stoked controversy as art educators rebelled against the idea that there was one right way to teach art which they believed was being pushed on them.
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Pavelieva, Yulia Е. "Literary Critics of ‛Grani’ on the Works of Ivan Bunin". W I.A. Bunin and his time: Context of Life — History of Work, 357–64. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/ab-978-5-9208-0675-8-357-364.
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“Grani” is one of the most famous magazines of Russian abroad. This publication was intended as a large literary magazine. Literary criticism is an essential section of such editions. Writers and poets of the Russian abroad were the authors of the section of literary criticism in the magazine “Grani”. Leonid Rzhevsky, Boris Narcissov, Alexander Nejmiroc were the authors of very interesting articles on the of Bunin’s creativity. These authors were real “artists of the word”, they had a special creative sensitivity. Such quality allows the critic to discern the creative features of another writer or poet. It is not accidental that literary critics of “Grani” were able to see specific features in Bunin’s talent. They explored the issues that would be a matter of concern for the literary critics many decades later. The authors of the “Grani” magazine wrote literary and critical articles in the middle of the 20th century. They addressed the problems that are relevant up to our days.
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"The state of Art Criticism". W 20th Century Theories of Art, 102–17. McGill-Queen's University Press, 1990. http://dx.doi.org/10.1515/9780773596054-012.
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Vinogradov, Igor A. "German Romantic W.G. Wakenroder and the 20th Century: Artistic Vision of N.V. Gogol". W Literary Process in Russia of the 18th–19th Centuries. Secular and Spiritual Literature. Issue 3, 273–313. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/lit.pr.2022-3-273-313.
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The article is devoted to the study of the religious and political aspects of the famous manifesto of European romanticism, i. e. the book of the German writer and musician V.G. Wackenroder “Fantasies Concerning the Art of an Art-Loving Monk” (1814). In 1826 this book was translated into Russian and influenced the development of Russian romanticism. The article examines in detail N.V. Gogol’s attitude to the works of German romantics and traces the evolution of the writer’s views on romantic literature, starting from the 1820s, when he created his first works, namely the prose satire “Something about Nizhyn, or the Law is not Written for Fools” (1826) and the poetic poem “Hanz Küchelgarten” (1827). The author of the article shows close connection of Gogol’s images of the German artisans Schiller and Hoffmann in the story “Nevsky Prospekt” (1835) with other satirical works of the writer and gives an analysis of the reformist ideas of Wakenroder’s book, which were developed in the writings of German romantics and the events of the subsequent 20th century. In addition, the research touches upon the history of the study and perception of “Nevsky Prospekt” and notes the unexpected discovery in Soviet Russia during the Great Patriotic War of the deep, “prophetic” meaning of Gogol’s work. The corresponding judgments about Gogol’s story are given by a number of critics, writers and scientists, such as F.M. Dostoevsky, D.I. Pisarev, V.V. Rozanov, Protopresbyter Vasily Zenkovsky, A.G. Dementiev, G.P. Makogonenko. The article emphasizes immutability of Gogol’s religious and patriotic views, which were formed thanks to family upbringing and school education; and made the conclusion about the fundamental polemic of the artist with the German romantics’ religious-renovationist ideas.
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"The Role of Canons in Criticism". W 20th Century Theories of Art, 517–21. McGill-Queen's University Press, 1990. http://dx.doi.org/10.1515/9780773596054-052.
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Ollion, Étienne. "Down with Career Politicians!" W The Candidates, redaktor Katharine Throssell, 23–51. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197665954.003.0002.
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Abstract The book opens with a brief history of the term “career politicians.” The chapter shows that worries over “political professionalization” are consubstantial with the rise of democracy from its inception, in Europe as well as in the United States. In the 19th century, as hereditary claims to political office gave way to popular suffrage, more and more candidates could not afford to perform their duties without pay. Disputes over the legitimacy of financial remuneration for political service continued into the next century. The controversy would eventually quiet, but it bequeathed a nagging suspicion that politicians are motivated by monetary gain. This chapter traces the arc of the history of opposition to career politicians, from the right-wing criticism against workers entering politics to the stylized opposition between the people and the elites that took hold in the latter half of the 20th century. But why did this rhetoric acquire such resonance at that particular moment? And how did such a pure product of the French establishment as Macron manage to pass as an “outsider”? Drawing on an original, extensive data set, it identifies the central transformations of the political field since the 1970s, and in particular the closure of the French political field.
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Kaznina, Olga A. "The Book by I.A. Bunin “Liberation of Leo Tolstoy” in the Context of Russian Emigre Literary and Philosophical Criticism". W Russian Émigré Literature, 1920–1940. Writer in Literary Process (to the 150th Anniversary of I.A. Bunin’s Birth), 95–206. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0685-7-97-208.
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The present article is devoted to the multidimensional analysis of the book by I.A. Bunin “Liberation of Leo Tolstoy” (1937). Attention is devoted to the history of its creation and to its unique structure, combining the genres of memoirs, journalistic sketch, diary, epistles and literary portrait with philosophical contemplation. Special consideration is paid to the properties of style of the text as well as to the development of the artistic image of Leo Tolstoy. The center of the research is occupied by the problem of the spiritual and religious quest of Tolstoy in the latest decades of his life, to his multifaceted concept of liberation and also to the enigma of his last flight from Yasnaya Poliana. Bunin’s interpretations are investigated on the complex background of literary, philosophical and theological evaluations of Tolstoy’s worldview, as it took shape after the spiritual crisis of his later years. Different reactions to his final escape are also taken into account. The article reflects the positions of G. Adamovitch, V. Hodasevitch, V. Maklakov, I. Shahovskoy, S. Bulgakov, as well as many other literary critics, philosophers and theologians. Bunin’s book is investigated as a source for the studies of spiritual and intellectual quest on the verge of the centuries, i.e. the end of the 19th and the beginning of the 20th century. Bunin’s book is presented also in the context of Russian émigré literary and philosophical criticism.
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Haltrin-Khalturina, Elena V. "From the English Renaissance Literary History: Sherry, Puttenham, Spenser, and Shakespeare on Fictions". W “The History of Literature”: Non-scientific sources of a scientific genre, 132–58. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-132-158.
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A survey of academic histories of literature published in the 19th and 20th centuries in different countries reveals that, while thoroughly covering the English Renaissance poetics, the scholarship allows for a variety of views on Tudor literary theory and on what constitutes literary canon. Considering this variety of views, we also have to be aware of two different perspectives on the large body of literary art of the 16th-century: the present-day and the Elizabethan. Drawing on a substantial number of sources, we offer a general account of influential theoretical (poetological and rhetorical) works known in the 16th-century Great Britain, including those written in English. Also of note are educational treatises, “mirror” literature, and metaliterary comments withing literary works. Authors of those treatises used to interpret fiction as something feigned, counterfeit — an attitude informing ludic passages in Spenser and Shakespeare. Whereas the techniques of fashioning fictions by way of employing figures of feigned/counterfeit representation were addressed in detail by such critics as R. Sherry and G. Puttenham, the poets — Spenser and Shakespeare — seemed to be testing these techniques in practice. Our study pays particular attention to methods used by Spenser and Shakespeare when creating simulated, fictional reality.
Streszczenia konferencji na temat "Art criticism – history – 20th century"
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Mishchenko, I. I. "The image of the city in the art of Chernivtsi of the 20th – early 21st century". W CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-52.
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Bykova, A. M. "Between painting and literature: 3 types of ekphrasis in Polish poetry of the 20th century (analysis of selected examples)". W CULTURAL STUDIES AND ART CRITICISM: THINGS IN COMMON AND DEVELOPMENT PROSPECTS. Baltija Publishing, 2020. http://dx.doi.org/10.30525/978-9934-26-004-9-78.
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Yadlovska, O. S. "TENDENCIES OF NEW HISTORICISM IN LITERARY WORKS OF THE EARLY 20TH CENTURY AND THEIR PROJECTION ON THE INTERPRETATION OF HISTORICAL EVENTS IN LITERARY CRITICISM OF THE LATE 20TH AND EARLY 21ST CENTURIES (BASED ON THE WORK OF M. KHVYLOVY)". W MODERN PHILOLOGY: THEORY, HISTORY, METHODOLOGY. PART 2. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-425-2-48.
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Храмцова, Г. Б. "FEATURES OF THE MONUMENTAL ART IN THE SOVIET TAPESTRY OF THE 60–80s OF THE 20th CENTURY". W КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.28.
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Советский период внес значительный вклад в историю монументальнодекоративного искусства, частью которого по праву является гобелен. Несмотря на широкое разнообразие национальных, стилистических, композиционных и авторских проявлений гобеленов советского периода, пришло время попытаться выявить их основные черты и доказательно обосновать уникальность и целостность этого явления в отечественном изобразительном искусстве. Soviet heritage has made a significant contribution to the history of domestic monumental and decorative arts. Despite a wide variety of national, stylistic, compositional, and artistic displays of the Soviet tapestry available now, it is time to understand and summarize its distinct features and prepare a fact-based argument to identify its unique and holistic approach in the contemporary fine art.
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Vang, E., I. I. ,. Orlov i M. L. Polovinkina. "A Brief Overview of Historiography of Traditional Chinese Art". W Scientific achievements of the third millennium. НИЦ "LJournal", 2023. http://dx.doi.org/10.18411/satm-08-2023-03.
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This article examines the historiography of the problem of exploring the features of traditional art in China, which has been most clearly formed since about the 19th century. Later, already in the 20th century, the art and culture of the Chinese habitat is already clearly manifested in the variety of types and subjects of fine and decorative arts. The article gives a brief historiography of the problem from the beginning of the 19th century to the beginning of the 21st century, when hundreds of articles were published on the visual and decorative applied traditional art of China. They present both scientific and informational materials on the general history of the emergence of traditional art, as well as on individual objects of Chinese traditional art.
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Ceravolo, R. "Condition Assessment, Monitoring and Preservation of Some Iconic Concrete Structures of the 20th Century". W IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0054.
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<p>Great architects and structural engineers such as Berg (1870-1947), Maillart (1872-1940), Freyssinet (1879- 1962), Torroja (1899 -1961), Nervi (1891-1979), Candela (1910-1997), Isler (1926-2009) and many others have designed recognized works of art in their discipline. They conceived extraordinary concrete spatial structures, that are located mostly in Europe and represent a unique legacy. It is important to raise awareness of this heritage, define the criteria for preserving it and begin the process of its renovation and rehabilitation.</p> <p>While concrete has become a 20th century emblem, much of the world’s heritage from this period is unrecognized or undervalued, and therefore it is at risk and in need of analysis and protection. Innovative technologies and solutions are needed that contribute to the successful reuse of modern concrete built heritage. Indeed, such structures are plagued by significant deterioration and most of them are in urgent need of retrofitting and/or radical refurbishment. In other words, there is a need to bring some of these buildings back to life, while respecting the spirit of their original characters, through new technologies for long-term conservation that can maintain an adequate level of structural performance. Achieving this goal would produce substantial economic impacts through activities such as restoration, maintenance, and cultural industry.</p> <p>The keynote lecture, more specifically, focuses on the condition assessment, monitoring and preservation of 20th century architectural heritage characterized by a complex spatial structural design. The service life of civil and cultural heritage concrete spatial structures is typically thought to range from 10 to 200 years, but in practice the service environment plays a pivotal role in sustained durability. Indeed, the collapse of Polcevera Viaduct in Genoa has raised strong concerns on the durability of concrete structures conceived at that time. The scientific community has once again underlined the important role played by maintenance and continuous structural health monitoring in avoiding these disastrous events. In order to demonstrate a correct approach to condition monitoring of concrete spatial buildings and bridges, some important experiences are described that were recently obtained at the Polytechnic of Turin on the structural analysis, seismic vulnerability and condition assessment for iconic 20th century heritage buildings.</p>
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Zlotnikova, Tatyana. "Power in Russia: Modus Vivendi and Artis Imago". W Russian Man and Power in the Context of Dramatic Changes in Today’s World, the 21st Russian scientific-practical conference (with international participation) (Yekaterinburg, April 12–13, 2019). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-rmp-2019-pc02.
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Contemporary Russian socio-cultural, cultural and philosophical, socio psychological, artistic and aesthetic practices actualize the Russian tradition of rejection, criticism, undisguised hatred and fear of power. Today, however, power has ceased to be a subject of one-dimensional denial or condemnation, becoming the subject of an interdisciplinary scientific discourse that integrates cultural studies, philosophy, social psychology, semiotics, art criticism and history (history of culture). The article provides theoretical substantiation and empirical support for the two facets of notions of power. The first facet is the unique, not only political, but also mental determinant of the problem of power in Russia, a kind of reflection of modus vivendi. The second facet is the artistic and image-based determinant of problem of power in Russia designated as artis imago. Theoretical grounds for solving these problems are found in F. Nietzsche’s perceptions of the binary “potentate-mass” opposition, G. Le Bon’s of the “leader”, K.-G. Jung’s of mechanisms of human motivation for power. The paper dwells on the “semiosis of power” in the focus of thoughts by A. F. Losev, P. A. Sorokin, R. Barthes. Based on S. Freud’s views of the unconscious and G. V. Plekhanov’s and J. Maritain’s views of the totalitarian power, we substantiate the concept of “the imperial unconscious”. The paper focuses on the importance of the freedom motif in art (D. Diderot and V. G. Belinsky as theorists, S. Y. Yursky as an art practitioner). Power as a subject of influence and object of analysis by Russian creators is studied on the material of perceptions and creative experience of A. S. Pushkin (in the context of works devoted to Russian “impostors” by numerous authors). Special attention is paid to the early twenty-first century television series on Soviet rulers (Stalin, Khrushchev, Brezhnev, Furtseva). The conclusion is made on the relevance of Pushkin’s remark about “living power” “hated by the rabble” for contemporary Russia.
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Moulis, Antony. "Architecture in Translation: Le Corbusier’s influence in Australia". W LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.752.
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Abstract: While there is an abundance of commentary and criticism on Le Corbusier’s effect upon architecture and planning globally – in Europe, Northern Africa, the Americas and the Indian sub-continent – there is very little dealing with other contexts such as Australia. The paper will offer a first appraisal of Le Corbusier’s relationship with Australia, providing example of the significant international reach of his ideas to places he was never to set foot. It draws attention to Le Corbusier's contacts with architects who practiced in Australia and little known instances of his connections - his drawing of the City of Adelaide plan (1950) and his commission for art at Jorn Utzon's Sydney Opera House (1958). The paper also considers the ways that Le Corbusier’s work underwent translation into Australian architecture and urbanism in the mid to late 20th century through the influence his work exerted on others, identifying further possibilities for research on the topic. Keywords: Le Corbusier; post-war architecture; international modernism; Australian architecture, 20th century architecture. DOI: http://dx.doi.org/10.4995/LC2015.2015.752
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Tselishcheva, M. A. "“Firsov’s passage” in Biysk — the history of a large building for public use of the early 20th century with prominent elements of art nouveau". W Balandinskie Chteniya. Новосибирский государственный университет архитектуры, дизайна и искусств им. А.Д. Крячкова, 2021. http://dx.doi.org/10.37909/978-5-89170-287-5-2021-1011.
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Genese-Plaude, Inta. "URBAN CULTURAL PRACTICES AS A MIRROR OF THE MODERNIZATION OF LATE 19TH CENTURY SOCIETY AND LIFESTYLE IN AUGUSTS DEGLAVS� NOVEL �RIGA�". W 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.24.
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The study focuses on the late 19th century city as an equivalent of the formation of a modern society. In fiction, especially in novels, the depiction of the 19th/20th century city has always attracted attention as a reflection of the formation of modern society through portrayals of both daily life and the development trends of the era's ideas. Writer, publicist, social activist Augusts Deglavs (1862�1922) created a unique portrait of the modernization of the city in Latvian literature with his novel �Riga� (�Riga�) (part 1 in 1912, part 2 in 1921). The novel demonstrates the awakening of Latvians and their formation as a cultural nation in a multicultural society in the conditions of double colonialism in the second half of the 19th century. One of the focal points of the novel is the diverse spectrum of cultural practices in an emerging industrial and multicultural society. The novel shows that cultural practices are determined by power hegemony and confrontation, various social experiences, ethnic, professional, religious affiliations, ideologies, behavioural norms and mass cultural emancipation. The research was conducted in a culture-oriented perspective, involving the social sciences and the current interdisciplinary approach. The approach of Cultural Studies and New Historicism method are used, with which it is possible to discover how Augusts Deglavs� novel is rooted in the cultural practices, circulation of ideas and historical developments of the era. New Historicism looks at literature as one of the voices in the polyphony of history or an era, a voice which can sound just as powerful in content as the voice of history and culture itself, because literature is one of the links in the chain of cultural processes.
Raporty organizacyjne na temat "Art criticism – history – 20th century"
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Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt i Adam Smith. A History and Analysis of the WPA Exhibit of Black Art at the Fort Huachuca Mountain View Officers’ Club, 1943–1946. Engineer Research and Development Center (U.S.), czerwiec 2023. http://dx.doi.org/10.21079/11681/47184.
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The 1943 art exhibition at the Mountain View Officers’ Club (MVOC), Fort Huachuca, Arizona should be considered one of the most significant events in the intersection of American art, military history, and segregation. Organizers of the event, entitled Exhibition of the Work of 37 Negro Artists, anticipated it would boost soldiers’ morale because Fort Huachuca was a predominately Black duty station during WWII. This report provides a brief history of Black art in the early 20th century, biographies of the artists showcased, and provides information (where known) about repositories that have originals or reproductions of the art today. The following is recommended: the General Services Administration (GSA) investigate the ownership of the pieces described in this report and if they are found to have been created under one of the New Deal art programs to add them to their inventory, further investigation be performed on the provenance and ownership of Lew Davis’s The Negro in America’s Wars mural, for the rehabilitation of the MVOC that the consulting parties agree upon the scope of the reproduction of the art, and request archival full reproductions of the pieces of art found in the collection of the Howard University Gallery of Art.