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Artigos de revistas sobre o assunto "Art, Modern - 20th Century"
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Asanuma, Keiji. "20th Century-End of Modern Art?" TRENDS IN THE SCIENCES 6, n.º 2 (2001): 56–58. http://dx.doi.org/10.5363/tits.6.2_56.
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Selber, Kimberly A. "Influence of Modern Art on Early 20th-Century Advertising Art". International Journal of the Arts in Society: Annual Review 2, n.º 1 (2007): 183–92. http://dx.doi.org/10.18848/1833-1866/cgp/v02i01/35350.
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Chen, Ziyuan. "Chinese Calligraphy: An Ancient Art in the Modern Era". SHS Web of Conferences 159 (2023): 02003. http://dx.doi.org/10.1051/shsconf/202315902003.
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Chinese calligraphy is an ancient character writing art. It germinated in the Shang Dynasty, reached its peak in the Tang Dynasty, and did not form a new calligraphy style for more than one thousand years. There are many similarities between Chinese calligraphy and western painting, including similarities in abstraction and symbolism. When the country went through the modernization of the 20th century, the western influence gradually increased, and the Chinese calligraphy art gradually formed new art forms such as hard pen calligraphy. At the same time, calligraphy art has also inspired and influenced the formation and development of western modern art in varying degrees since the 20th century. In the future, Chinese calligraphy will fully absorb the essence of western art, making this ancient art full of new vitality.
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CIRLOT, L. "THE KEY TO MODERN ART OF THE EARLY 20TH CENTURY". Art Book 1, n.º 3 (junho de 1994): 16f. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00130.x.
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Demchenko, Aleksandr Ivanovich. "The Russian musical art of the early 20th century: Dissonances". Manuscript 17, n.º 2 (4 de março de 2024): 49–57. http://dx.doi.org/10.30853/mns20240008.
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Over an extended period spanning more than four decades (from the late 1880s to the early 1930s), a transition from the Classical era to Modern took place. This essay examines distinct shifts in the interaction between classical and modern styles within the specific historical contexts of the late classical era (as the culmination of the classical evolution) and the early modern era (as the emergence of Modern), focusing on a range of 1910s musical works: Alexander Taneyev’s Piano Quintet, the ballets “The Firebird” and “Petrushka” by Igor Stravinsky, Nikolai Myaskovsky’s Symphony No. 5, and Sergei Rachmaninoff’s cantata “The Bells”. Additionally, attention is given to the development of this issue in the 1920s: including the ballets “Flames of Paris” by Boris Asafiev, “Carmagnola” by Vladimir Femelidi, “The Red Poppy” by Reinhold Glière, “Pulcinella” by Igor Stravinsky, and N. Myaskovsky’s Symphony No. 6, where the confrontation between the old and the new world reached its peak. In conclusion, it is argued that the stark divergence into two contrasting types of worldviews inherent in the old and the new world was aimed at a sharp reorientation of values, leading to a fundamental transformation across all aspects of existence.
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Heusser, Hans-Jörg. "AICARC and the Archives of Modern Art". Art Libraries Journal 11, n.º 2 (1986): 4–8. http://dx.doi.org/10.1017/s0307472200004582.
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Since the 1960s AICA, the Association Internationale des Critiques d’Art, has been increasingly concerned with the primary resources on which research depends. In particular, access to archival material was felt to be necessary in order to counter a dominant, highly selective, ‘modernist’ interpretation of 20th century art, with a more objective, comprehensive, and thoroughly researched history of the period covering all countries. The AICARC-Bulletin, founded in 1974, is devoted to primary sources, archives and documentation centres, archival techniques, and the ‘documentary’ approach to art, in relation to the art of this century.
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Liao, Lei. "Background of Western Modern Art in the 20th Century". SHS Web of Conferences 167 (2023): 01008. http://dx.doi.org/10.1051/shsconf/202316701008.
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In the 20th century, many major events were represented by the two world wars. They not only changed people’s living environment, but also affected people’s mental state. In the field of arts, modern industrial science and technology have opened up the expressive techniques of arts. War trauma has affected the creative mood of artists, and the inheritance of art value from the previous generation have also profoundly affected the inner spirit of arts. From the perspective of social and cultural contexts, the analysis of the time motivation of the development of western modern art in the 20th century can further understand its influence on art expression techniques, and also assist people better understand the connotation of art works, and better appreciate art works.
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Kholodynska, Svitlana. "THE CREATIVE WORK OF BORIS VIAN WITHIN FRENCH HUMANITIES OF THE 1940s–1960s". UKRAINIAN CULTURAL STUDIES, n.º 1(12) (2023): 29–33. http://dx.doi.org/10.17721/ucs.2023.1(12).07.
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In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.
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Shevchuk, Kateryna. ""CRISIS OF ART" AND "CRISIS OF AESTHETICS" IN RESEARCH OF POLISH HUMANITIES OF THE SECOND HALF OF THE 20th CENTURY". UKRAINIAN CULTURAL STUDIES, n.º 1(12) (2023): 25–28. http://dx.doi.org/10.17721/ucs.2023.1(12).06.
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In the second half of the 20th century, discussions around the understanding of crisis phenomena that permeated all spheres of human life became more frequent, in particular, the spheres of art and aesthetics were also touched upon. The crisis in the artistic sphere was connected with the general cultural crisis of the late 19th and early 20th centuries, the decline of spirituality, and the relativization of values, primarily moral and aesthetic. Analysis of the crisis in the sphere of artistic practice and aesthetics of the 20th century was the subject of scientific research by several representatives of Polish aesthetics of the second half of the 20th century: R. Ingarden, S. Morawski, B. Dziemidok, and others. The primary attention of these thinkers was devoted to the understanding of transformational processes in modern artistic creativity and the analysis of its influence on aesthetics with a clear emphasis on the importance of the axiological perspective. A thorough analysis of the problems of the crisis in artistic creativity and aesthetics of the 20th century can be found in the works of S. Morawski. He studied the causes and consequences of transformations in artistic creativity since the beginning of the 20th century, in particular, the consequences for the formation of the modern axiosphere, and its role in changing modern aesthetic consciousness. However, S. Morawski's prediction regarding the replacement of aesthetics with anti-aesthetics was not confirmed. On the contrary, art that implements aesthetic values has survived, although the range of aesthetic values has increased significantly. Modern philosophy of art is open to the most controversial artistic proposals. This is because it breaks with those normative principles that limit freedom. The most important thing, however, is that normative and descriptive aesthetics always have an axiological character, which all representatives of Polish aesthetics emphasized in the second half of the 20th century.
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Keser, Sezer Cihaner. "20th Century quest for new art and interdisciplinary approach". Global Journal of Arts Education 7, n.º 2 (12 de junho de 2017): 61–65. http://dx.doi.org/10.18844/gjae.v7i2.1835.
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AbstractArt; when setting up the combined connection of feelings and thoughts, it is a very effective helper of learning and development. It developes one's source of explanation better, form of expression and other disciplines. That is why, in modern eductaion systems science and art should be nested together. Collaboration of different disciplines in art education started to gain importance towards the end of the 20th century. Because both fields are aimed for service development and discovery of the new, when feelings are educated, mental abilities, thoughts and intelligence have been seen to be developed. In this study, the key actions of the art education in the 20th century education has been briefly noted and towards the end of the 20th century with the importance gained from different disciplines with art the new created discipline based art education and approach to interdisciplinary art has been investigated.
Keywords: art, education, interdisciplinary art, mental abilities, learning, development.
Teses / dissertações sobre o assunto "Art, Modern - 20th Century"
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Gaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence". Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.
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This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.
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Kaji-O'Grady, Sandra 1965. "Serialism in art and architecture : context and theory". Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.
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RIZZI, Elena Maria Rita. "Modern art and the making of a French republican imaginary, 1919-1940". Doctoral thesis, European University Institute, 2021. https://hdl.handle.net/1814/70295.
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Defence date: 24 February 2021Examining Board: Professor Laura Lee Downs (European University Institute); Professor Ann Thomson (European University Institute); Professor Kevin Passmore (Cardiff University); Professor Béatrice Joyeux-Prunel (Université de Genève)
Winner of the 2022 James Kaye Memorial Prize for the Best Doctoral Thesis in History and Visuality.
Recent scholarship on the interwar French art milieu has overcome, on the one hand, ethnonationalism as the main interpretive framework for examining the relationship between art and politics and, on the other, a celebratory narrative that made Paris the liberal and democratic interwar art centre. Building on these recent studies, my thesis aims to reassess the nexus between art and politics in interwar France. I do this by asking what kind of Republican imaginaries were created in the modern art promoted by public institutions. In order to answer this question, the thesis builds on a second, recent body of scholarship that re-examines French politics and Republican political culture through new lenses. This work highlights the polysemic and plastic nature of Republican ideology, the variety of stances contained within Republicanism, and hence the existence of different and competing understandings of the French Republic. By delving into four case studies, namely the Musée des écoles étrangères, the Musée de Grenoble, the tapestries realised at the Manufacture des Gobelins and the mural art projects financed by the state in the late 1930s, the thesis demonstrates that the modern art promoted by public institutions engendered political imaginaries that testify to the simultaneous existence of conservative, liberal, civic or communitarian, that is, local Republics. While making modern art the bearer of competing views on the French Republic in the 1920s and 1930s, the imaginaries that were created by modern art institutions and practices mythologised Republican universalism. Yet, these imaginaries revealed all the ambiguity contained in France’s universalistic project. At a time marked by the never-ending bellicosity that ensued from the First World War and the political and economic crises of the 1930s, the imaginaries created by modern art thus gave birth to a Republican visual politics. As the thesis argues, this Republican visual politics had a sociopolitical meaning. Modern art, especially figurative art, created imaginaries that could confront, above all, the interwar crisis of the Republic and its universalism, and the crisis in social and political representations that stemmed from the political turmoil and instability of the interwar years.
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Loayza-Lauffs, Mariana. "The art of Guillermo Kuitca". Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.
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Ferguson, Bruce W. "From sight to site : some considerations regarding contemporary theory in relation to contemporary art". Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61972.
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Palladino, Nicoletta. "19th - 20th century zinc white paints : multidimensional physico-chemical characterisation". Electronic Thesis or Diss., université Paris-Saclay, 2024. http://www.theses.fr/2024UPAST042.
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Cette thèse explore les propriétéset l’emploi des peintures à l’huile à base deblanc de zinc de l’échelle nano- et microscopique jusqu’à l’échelle macroscopique desœuvres d’art.Le blanc de zinc (ZnO), pigment modernedéveloppé à la fin du XVIIIe siècle en tantqu’alternative non toxique au blanc de plomb,a été adopté dans la peinture à l’huile au milieudu XIXe siècle. Initialement utilisé aux côtésdu blanc de plomb, son pouvoir couvrant plusfaible et sa brillance en ont fait un pigment dechoix pour les mélanges de couleurs, les pointslumineux, mais aussi les empâtements et lespréparations. Cependant, il peut provoquer desproblèmes de conservation, par exemple en raison de la formation de savons de zinc, ce qui aété le focus principal de plusieurs études.Connaître ce pigment est donc crucial pourles études techniques des œuvres d’art et leurconservation. Dans ce but, cette rechercheest centrée sur deux axes : l’étude des propriétés physico-chimiques du blanc de zinc et del’ampleur et des modalités d’emploi du pigment.L’analyse de plusieurs types de matériaux estcomplétée avec des recherches documentaires etune enquête auprès des professionnels du patrimoine.Le premier axe est abordé à traversl’analyse, à l’échelle nano- et micromètrique,d’un large corpus, unique et varié, de matériauxd’artiste historiques et modernes des fabricantseuropéens et américains principaux, et d’unesélection d’échantillons issus d’œuvres, qui sontcomparés à des matériaux de référence et desmodèles de peinture. Plusieurs types de techniques d’analyse sont utilisés, allant de méthodes de laboratoire conventionnelles (microscopie optique et électronique, DRX) jusqu’à delarges instrumentations telles que l’accélérateurde particules AGLAE (PIXE, IBIL) et le synchrotron ESRF (DRX à haute résolution angulaire). Plusieurs composés ont été identifiés dansles matériaux de peinture, ce qui met en évidence certaines pratiques et adulterations desfabricants de couleurs. L’hydrozincite, probable produit de dégradation du ZnO, a été identifié dans plusieurs échantillons. Cette étudesouligne, parmi les matériaux historiques etmodernes, des différences de composition, detaille des particules de ZnO et de comportementde luminescence. La morphologie et la taille desparticules de ZnO et la pureté des matériauxanalysés suggèrent une synthèse par méthodeindirecte. La variété des comportements de luminescence, affectés également par d’autres facteurs liés au pigment et à son environnement,est, au contraire, plus difficile à interpréter.Le deuxième axe est abordé à partir descampagnes de fluorescence X sur une cinquantaine d’œuvres analysées in-situ dans lesmusées, et l’étude détaillée d’une sélection depeintures au laboratoire. Cette recherche explore différents emplois du pigment à partird’exemples précoces jusqu’à la moitié du XXesiècle, et constitue une véritable base de données des œuvres qui contiennent du blanc dezinc. En outre, l’étude souligne les limites del’identification du blanc de zinc, notamment surla seule base des analyses non-invasives de fluorescence X. L’intérêt d’un protocole non-invasifpour l’identification du pigment basé sur sa photoluminescence a été mis en valeur, ce qui estcomplémentaire à l’emploi de la cathodoluminescence pour l’étude invasive de matériaux depeinture.Cette recherche constitue donc une référencesur les propriétés physico-chimiques et l’emploidu blanc de zinc, offrant des informations surl’histoire matérielle du pigment et des œuvresd’art modernes en ouvrant des perspectives surleur conservation et authentification: This thesis explores the propertiesand use of zinc white oil paints, from the nanoand micro-scale up to the macro-scale of artworks.Zinc white (ZnO), a modern pigment developed in the late 18th century as a non-toxicalternative to lead white, was adopted in oilpaint in the middle of the 19th century. Initially used alongside lead white, its lower covering power and brilliance made it a choice forcolour blends and highlights, but also for impastos and grounds. It can cause condition issues,for example due to the formation of zinc soaps,which have been the main focus of several studies.Knowing the pigment is, therefore, crucialfor technical studies and artwork conservation.Thus, this research focuses on two areas: thestudy of the physico-chemical properties of zincwhite and the extent and modalities of use of thepigment. The analysis of several types of material is complemented by documentary researchand a survey among heritage professionals.The first axis is addressed through the analysis, at the nano- and micro-scale, of a large,unique and varied corpus of historical and modern artists’ materials from the leading European and American manufacturers, and a selection of painting samples compared with reference materials and paint mockups. Several analytical techniques are used, from conventionallaboratory methods (optical and electron microscopy, XRD) to large facilities, such as theAGLAE particle accelerator (PIXE, IBIL) andthe ESRF synchrotron (high-angle resolutionXRD). Other compounds than ZnO were identified in the paint materials, shedding light oncertain practices of colour manufacturers andexamples of adulteration. Hydrozincite, a probable degradation product of ZnO, was identifiedin some samples. This study highlights differences in the composition and size of ZnO particles between historical and modern materials,as well as a luminescence behaviour that is moredifficult to interpret because it depends on several factors linked to the pigment and its environment. The morphology and size of the ZnOparticles and the purity of the materials analysed suggest synthesis via indirect method.The second axis is based on X-Ray Fluorescence (XRF) spectroscopy campaigns onaround fifty artworks analysed in-situ in museums, and the detailed study of a selection ofpaintings in the laboratory. This research showsdifferent uses of the pigment through examplesfrom the beginning of the 19th up to the mid20th century, which form a reference databaseof artworks containing zinc white. The studyalso calls into question the identification of zincwhite, particularly when solely based on XRFanalyses. The interest in a non-invasive protocol for pigment identification based on its photoluminescence was highlighted, which is complementary to the use of cathodoluminescencefor the invasive study of paint materials.This research constitutes a reference onthe physico-chemical properties and use of zincwhite; it provides information on the materialhistory of the pigment and modern artworks,opening up new perspectives for artwork conservation and authentication
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Boetzkes, Amanda. "Beyond perception : the ethics of contemporary earth art". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102788.
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This dissertation considers the aesthetic strategies and ethical implications of contemporary earth art. Drawing from feminist and ecological critiques of phenomenology, it posits that an ethical preoccupation with the earth is identifiable in works that stage the artist's inability to condense natural phenomena into an intelligible art object thereby evidencing the earth's excess beyond the field of perception. Contemporary earth art has the paradoxical goal of evoking the sensorial plenitude of the earth without representing it as such. The first chapter analyzes Robert Smithson's monumental sculpture, the Spiral Jetty (1970), and suggests that the artist deploys the emblem of the whirlpool to express the artwork's constitutive rupture from the earth, a loss that the artwork subsequently discloses in its textual modes, including an essay and a film that document the construction of the sculpture. Chapter two examines the recurrence of the whirlpool motif and other anagrammatic shapes such as black holes, tornadoes, shells and nests, in earth art from the last three decades. In contemporary practices the whirlpool allegorizes an ethical attentiveness to the earth's alterity; not only does it thematize the artwork's separation from perpetual natural regeneration, it signals the artist's withdrawal from the attempt to construct a totalizing perspective of the site. Chapter three addresses performance and installation works that feature the contact between the artist's body and the earth, and in particular, the body's role in delineating the point of friction between the earth's sensorial plenitude and its resistance to representation. Earth artists thereby assert the body as a surface that separates itself out from the earth and receives sensation of it as other. The conclusion summarizes the main arguments of the previous chapters through a discussion of a three-part installation by Chris Drury entitled Whorls (2005).
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Cheng, Christina Miu Bing, e 鄭妙冰. "Postmodernism: art and architecture in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31949861.
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Hennig, Sybille. "The machine and painting: an investigation into the interrelationship(s) between technology and painting since 1945". Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1009435.
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Introduction: We, i.e. contemporary Western man, live in a society which has increasingly embraced Science and Technology as the ultimum bonum. The Machine, i.e. Science and Technology, has come to be seen as an impersonal force, a New God - omniscient, omnipotent: to be worshipped and, alas, also to be feared. This mythologem has come to pervade almost every sphere of our lives in a paradigmatic way to the extent where it is hardly ever recognized for what it is and hence fails to arouse the concern it merits. While some of the more perceptive minds - such as Erich Fromm, Rufino Tamayo, Carl Gustav Jung, Konrad Lorenz and Arthur Koestler, to mention but a few - have started ringing the alarm bells, the vast majority of our species seem to plunge ahead with their blinkers firmly in place (more or less contented as long as they can persude themselves that these blinkers were manufactured according to latest technological and scientific specifications). Man’s uniquely human powers - his creative intuition, his feelings, his moral and ethical potential, have become sadly neglected and mistrusted. Homo sapiens – “homo maniacus” as Koestler suggests? - is now at a crossroads: he has reached a point where the next step could be the last step and result in the annihilation of man as a species. Alternately, avoiding that, there is the outwardly less drastic but essentially equally alarming possibility of men becoming robots, while a third alternative has yet to be found. While it does appear as if a lot of young people, noticeably among students, have started reacting against the over mechanization of life, these reactions often tend to follow the swing-of-the-pendulum principle and veer towards the other extreme, throwing out the baby with the bathwater and falling prey to freak-out cults in a kind of mass-irrationalism, rejecting science and technology altogether. Artists who by their very nature perhaps are particularly sensitive - in a kind of seismographic way - to the currents and undercurrents of their age, have become aware of the effects of science and technology on our way of living, and many of them have in one way or another taken a stand in relation to the position of man in our highly technological world. Looking at the art produced over the last four decades, it is truly astonishing to what extent our changed world reflects in our art - a world and a Weltbild very different from that of our ancestors even just a few generations ago. The purpose of the present study is to survey some of the observations and commentaries that painters and certain kindred spirits from the sciences over the last few decades have offered, in the hope of, if not answering, at least defining and posing anew some of the questions that confront us with ever-increasing urgency.
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Matthews, Elaine Katherine Simone. "Environmental art and its contribution to establishing an awareness of the sacred in nature". Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002209.
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The introduction establishes the goal of the research, which is to discover that art concerned with re-evaluating the relationship to the environment and spirituality can serve to connect people to one another, and to the environment. The context of the research is the contemporary ecological and spiritual crisis of the postmodern world. The background places the discussion within the contexts of modernism and postmodernism. The historical background focuses on the period from the 1960s to the present day. Land and Environmental artists who work in a manner that is conscious of environmental issues and who suggest a sacred and creative attitude to ecology are discussed. My own creative work which is a response to both ancient and contemporary sites as well as to contemporary theories of art and spirituality is discussed. The four projects, are discussed in chronological order, they are: Quest - A journey into Sacred Space; Gaika's Kop - Sacred Mountain; Labyrinth - Journeys to the Centre; and Transforming the Centre. The conclusion shows that the multi-faceted, intertextual and relativistic philosophy of postmodernism has brought about a significant change in the attitude of humanity towards the environment. Artists who reject the modernist aesthetic and philosophy are making art that emphasises relationship to, rather than separation from the natural world.
Livros sobre o assunto "Art, Modern - 20th Century"
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(Firm), Butterfields. 20th century art. San Francisco: Butterfields, 2000.
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Fosu, Kojo. 20th century art of Africa. Accra, Ghana: Artists Alliance, 1993.
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Fosu, Kojo. 20th century art of Africa. Zaria, Nigeria: Gaskiya Corp., 1986.
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Klaus, Honnef, Ruhrberg Karl, Fricke Christiane, Schneckenburger Manfred e Walther Ingo F, eds. Art of the 20th century. Köln: Taschen, 2000.
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British Museum. Collecting the 20th century. London: Published for the Trustees of the British Museum by British Museum Press, 1991.
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Karl, Ruhrberg, e Walther Ingo F, eds. Art of the 20th century. Köln: Taschen, 1998.
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Vogel, Susan. Africa explores: 20th century African art. New York: Center for African Art, 1991.
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Corporation, Encyclopaedia Britannica Educational. Art in the 20th century: Surrealism. Chicago, IL: Encyclopaedia Britannica Educational Corporation, 1990.
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Corporation, Encyclopaedia Britannica Educational. Art in the 20th century: Constructivism. Chicago, IL: Encyclopaedia Britannica Educational Corporation, 1990.
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Jürgen, Tesch, e Hollmann Eckhard, eds. Icons of art: The 20th century. Munich: Prestel, 1997.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Art, Modern - 20th Century"
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Birbragher-Rozencwaig, Francine. "Modern Latin American Art". In Essays on 20th Century Latin American Art, 1–34. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-1.
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Atanasovski, Srđan. "Allies in Music: French Influence and Role Models in the Cvijeta Zuzorić Association of Friends of Art". In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 77–91. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch6.
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Atanasovski, Srđan. "Allies in Music: French Influence and Role Models in the Cvijeta Zuzorić Association of Friends of Art". In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 77–91. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch6.
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Méndez Baiges, Maite. "“We are all Demoiselles d’Avignon” or the Breaching of the Dominant Gaze". In Les Demoiselles d'Avignon and Modernism, 67–101. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.07.
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In his thesis on Les Demoiselles d'Avignon, Steinberg postulated the fundamental role of the spectator (object of the appealing gazes of the five young nudes in the painting) as the catalyst of the meanings in the painting. From then on new critical perspectives would speculate about this subject, targeted by the personages in the painting, who bears so much responsibility in articulating the interpretation of the scene. Doubts were raised about the universal character of the gaze, the universal character of the receptor of the work of art and of Modern Art. From the end of the 20th century and activated by the most recent methodological approaches such as feminism and post-colonialism, new critical voices provoked the breaching of the dominating gaze. This chapter broaches the interpretations of this paradigmatic work of Modern Art made by feminist and post-colonial and subaltern theories, questioning the very proposals of Modernism. Feminism shows how gender conditioning affects the reception of a work of art. And allied with this, post-colonialism and subaltern theory begin to seriously question the way historiography has considered, or not, the relevance of Art négre in the avant-guard eclosion.
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"The Rise of Chance in Modern Sciences". In The Radical Use of Chance in 20th Century Art, 17–24. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207263_003.
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Blair, Karen L., Erin L. Courtice e Rhea Ashley Hoskin. "Who Do We Love?" In Modern Relationships, 178–96. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197655504.003.0011.
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Abstract Attitudes toward sexual and gender minorities, particularly toward their romantic relationships, have ebbed and flowed throughout history. There are examples throughout history of cultures celebrating and persecuting same-sex relationships. However, by the turn of the 20th century, Western societies largely viewed same-sex and gender-diverse relationships as deviant. Indeed, many jurisdictions criminalized such relationships and their associated identities and behaviors. This chapter explores the lesser known history of how modern attitudes toward sexual and gender diversity developed throughout the 20th century and identifies femmephobia as an important area for future research. Femmephobia refers to the societal devaluation and regulation of femininity and, as we argue in this chapter, can be viewed as a common thread woven across many of the other prejudicial attitudes targeting sexual and gender minorities since the early 1900s.
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Sassler, Sharon. "Cohabitation Versus Marriage". In Modern Relationships, 38–54. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197655504.003.0003.
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Abstract Over the past five decades, unmarried cohabitation has become widely accepted—even normative—among Americans. Support for cohabitation has increased among many groups, from teenagers to elders. In fact, most first coresidential romantic unions are cohabitations rather than marriages. Yet while the majority of American adults will enter a cohabiting union, most cohabiting unions do not lead to marriage, and the shares of those engaging in serial cohabitation are rising. Whereas many young adults in the 20th century viewed cohabitation as a stepping stone to marriage, in the 21st century cohabitation increasingly serves as an intensive form of dating—at least at its inception. The pathways into marriage from cohabitation differ in important ways by social class, highlighting how union formation contributes to growing levels of inequality.
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Emison, Patricia. "After Eve". In Moving Pictures and Renaissance Art History. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724036_ch04.
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The imagery of films both reflected and spurred radical shifts in women’s lives throughout the 20th century. The history of film, and of responses to film, provides evidence of social attitudes and prejudices—those in Hollywood but also regional biases, pertaining to race as well as to gender. Those who were socially denigrated, such as prostitutes, were often treated with a degree of respect in screen narratives. The traditional genres had depended on closure; film, especially post–World War II, featured women and children with complexly difficult lives often lacking neat resolutions. Resnais, Bergman, and Antonioni each focused on women with humdrum rather than heroic lives, and made them the linchpin for studies of the psychological pressures of the modern world.
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Pozhidaeva, Galina A. "Spiritual and Musical Culture of Russia in Its Relations with the Typology of National Musical Art". In Hermeneutics of Old Russian Literature. Issue 21, 527–46. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/horl.1607-6192-2022-21-527-546.
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The article reveals the importance of sacred music of the late Russian Middle Ages (15th–17th centuries) for the formation of the most important typological qualities of Domestic professional music. The advanced development of subvocal polyphony in professional music in comparison with folklore is shown. On the material of the choral classics of the 20th century — All-Night Vigil by S.V. Rachmaninov and the concert Pushkin Wreath by G.V. Sviridov — it is shown that the basic of the Russian musical classics of the 20th century, along with folklore, was created by the spiritual music of Orthodox worship, its choral culture. She identified many typologically important features of Russian professional music — this is the vocal nature of thematism, subvocal polyphony, the use of sound of choir a capella and its timbre capabilities instead of orchestra. In the music of the 20th century, professional traditions of the Russian Middle Ages are continued in the development of intonation fund of chants, subvocal polyphony, and performing culture of choral singing. The latter is manifested in an expanded slow pace, clear diction, chain breathing, multilayered choral texture, dating back to the Baroque era, but even more complex, dynamic features of liturgical singing of patriarchal choir, dating back to the end of the 16th century. The preservation of performing features has a great importance: internal concentration and prayerful fullness of choral singing, which turn the modern listener to the monastic tradition with its self-deepening in prayer. This already expresses the mental depths of Russian consciousness that have developed thanks to the Orthodox spiritual culture.
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Safuanov, Ildar. "The history of Tatar mathematics education". In “DIG WHERE YOU STAND” 6. Proceedings of the Sixth International Conference on the History of Mathematics Education, 129–42. WTM-Verlag Münster, 2020. http://dx.doi.org/10.37626/ga9783959871686.0.10.
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The history of mathematics education of the Tatar nation from Medieval to modern times is described. Three stages of the development of mathematical education in Tatar schools are traced: 1) Mathematical education in Arabic language (up to the last decades of the 19th century); 2) Mathematical education in old Turk-Tatar language with terminology mostly in Arabic (second half of 19th century and the beginning of 20th century); 3) Mathematical education in modern Tatar language (from the beginning of the 20th century, especially after the October revolution). Keywords: history, mathematics education, Tatar language
Trabalhos de conferências sobre o assunto "Art, Modern - 20th Century"
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Shevchuk, I. H. "SECTION 12. Choral music of Ukraine and traditions of the Ukrainian revival of the 20th century". In VOCAL AND CHORAL ART AND EDUCATION: HISTORICAL RESEARCH, PERFORMANCE CONCEPTS, MODERN TRENDS. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-391-0-12.
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Цветкова, Н. Н. "THEATRICALITY IN THE ART OF TEXTILES OF THE 20th–21st CENTURIES". In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.29.
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Во второй половине ХХ столетия в период «пластического взрыва» появились новые объемно-пространственные текстильные формы — артобъекты, инсталляции, перформансы и хэппенинги. Многие из созданных в это время работ отличаются своеобразной «театральностью». В современном текстильном искусстве тенденция соединения ткани с театральным действом остается актуальной. В статье рассмотрены примеры взаимовлияния и взаимодействия текстильных форм с пространством театра. In the second half of the twentieth century, during the period of the “plastic explosion”, new three-dimensional textile forms appeared – art objects, installations, performances and happenings. Many of the works created at this time are distinguished by a kind of “theatricality”. In modern textile art, the tendency to combine fabric with theatrical action remains relevant. The article considers examples of the mutual influence and interaction of textile forms with the theater space.
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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community". In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.
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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Zaks, Lev. "Culture of the Second Half of the 20th Century through the Early 21st Century in Action: Creation of Contemporary Publicity". In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-public/private-2020-01.
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The article offers a culturological vision of publicity, and partly correlative privacy as universal aspects of the joint existence of people. The analysis methodology is based on the perception of culture as a universal specific way of existence of people and society; the perception of society as a sociocultural system; the perception of the evolution of society and all areas of its existence as a result of their holistic sociocultural determination. Publicity is considered in terms of its characterisation as a sociocultural phenomenon (space-time, socioanthropological, functional, communicative, discursive), and then the evolution of publicity as a function and the product of the cultural system is outlined. The main (and diverse) sociocultural influential factors having determined substantial changes in features of publicity (and its relationship with privacy) as from the second half of the 20th century to the present day are analysed: left-wing influence and democratisation of societies after World War Two; rising prosperity of citizens; origination of consumer society; release of public psychology from some conventional cultural taboos including as a result of secularisation and the sexual revolution; widespread and influential mass-media; informational revolution (information society). Critical effects of these factors in respect of publicity and its evolution have been shown. The information revolution of the second half of the 20th century to the early 21st Century is considered as the crucial factor of the radical qualitive transformation of social life, processes of its institutionalisation and with it, public and private spheres. Peculiarities of contemporary online publicness and its relationship with online privacy are addressed. Axiological problems of online publicness are highlighted.
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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�". In 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.
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Cocieru, Mariana. "Values of Romanian ethnological photographic art: Joseph Berman". In Conferință științifică internațională "FILOLOGIA MODERNĂ: REALIZĂRI ŞI PERSPECTIVE ÎN CONTEXT EUROPEAN". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/filomod.2023.17.20.
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In this article, the author refers to one of the elite representatives of Romanian photographic art, Joseph Berman, a distinguished personality in the field of visual documentation, who contributed enormously to the development of ethnological field research. From a theoretical and practical perspective, a visual image immortalizes a moment in space and time, facilitating the recourse to the information it holds whenever needed. The photography can communicate to you several types of information, on the one hand, about the personality of the one who made this immortalization, revealing details about the preferences and skill of the master photographer, and on the other hand, it expresses realities, historical, social, ethnographic details of eternal temporal moments and habitats, motivating us to become critical consumers of visual images. For these reasons, the rhetoric of the image (Roland Barthes) becomes emblematic for ethnological research. Researchers in the field of Romanian ethnological photography delimit the period of flourishing (development) of visual documentation from the first half of the 20th century into two segments, the first up to Joseph Berman and the second – after him. With its affirmation in the photographic field, ethnological documentation took on color, becoming „alive”, loaded with deep meaning. The famous sociologist Dimitrie Gusti, appreciating his talent, called him: „co-author of the image of the Romanian village and peasant” and, rightly, did not accept a monographic campaign through the villages of Romania without Berman’s skill and talent, considering any other type of ethnological research compromised from the start.
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Ceravolo, R. "Condition Assessment, Monitoring and Preservation of Some Iconic Concrete Structures of the 20th Century". In 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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Lisovetc, Irina. "The Modern Multi-Functional Cultural Center (Yeltsin Center) as a Platform for Dialogue Both Public & Private". In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-11.
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The article covers the modern multi-functional cultural centre as an institution of Russian culture of the 21st Century in the terms of the interaction of publicity and privacy. On the basis of the institutional approach in cultural theory and the philosophical and aesthetic analysis of the space of the cultural centre, the most important role of this institution in individual and personal assimilation of sociocultural values is substantiated. The objectives (programme) of such an institution, its chronotope and functionality are directed at the involvement of contemporaries into various forms and levels of the culture of the past, and its emotional-sensual assimilation via media-communication technologies. The ‘Yeltsin-Center’ in the city of Yekaterinburg was taken as the example not only for being orientated on the familiarisation of its visitors with the history of the Russian state and its culture of the late 20th century and the early 21st century, but also for the subjective experience of turning points of those times and the city where the personality and activities of the first Russian president were shaped and began. The calibre of the President’s personality, in this case, is diversely represented within the space of the Centre, and becomes crucial for understanding what was going on at that time. The ‘Yeltsin-Center’ is a principally new cultural complex, each component of which, and above all its central part - the Museum of the First President - is structured to show the turning point in Russian history as the President’s life journey and to encourage citizens to understand the past and present. The use of modern information technologies in this cultural complex, and primarily in its museum exhibition having been arranged as an artistic artefact, becomes crucial to the dialogue of publicity and privacy.
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Карпова, Е. А. "FELT IN INTERIOR DESIGN: MODERN REINVENTION OF TRADITIONAL TECHNOLOGY". In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.13.
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Высокое развитие техники валяния войлока и его широкое применение у кочевых народов начиная с древних времен подтверждены археологическими находками. Войлочные изделия служили для покрытия, утепления и украшения передвижных и стационарных жилищ. В XX в. войлок почти перестал использоваться в быту. С 1970-х гг. профессиональные художники и дизайнеры в России и за рубежом заинтересовались декоративными свойствами войлока. Они обращаются к технологии войлоковаляния для создания декоративных панно, ковров, артобъектов, перегородок, мебели и осветительных приборов. Войлочные предметы дизайна выполняются в традиционной технике и при помощи современных методов. The high development of felting technique and its widespread use among nomadic peoples since ancient times, have been confirmed by archaeological finds. Felt products were used to cover, insulate and decorate mobile and stationary dwellings. In the 20th century, felt almost ceased to be used in everyday life. Since the 1970s, professional artists and designers in Russia and abroad have become interested in the decorative properties of felt. They turn to felting technique to create decorative panels, carpets, art objects, partitions, furniture and lighting fixtures. Felt design objects are made using traditional techniques and modern methods.
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Roelofs, Michelle B. "Mass Timber: 19 Century to Today". In IABSE Congress, New York, New York 2019: The Evolving Metropolis. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2019. http://dx.doi.org/10.2749/newyork.2019.0634.
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<p>New mass timber technologies are entering the US market allowing for innovative, sustainable, and affordable designs. As the market embraces mass timber it is important to reflect on the history of mass timber and to learn best practices to ensure sustainable growth of this sector. This paper will discuss the evolution of mass timber in three parts:</p><p>19th Century: Large sawn timbers were used to construct impressive warehouse structures that still remain functional and beautiful in our cities today. Logging practices of this era led to deforestation in parts of the Americas before the rise of steel and concrete as dominant building materials.</p><p>20th Century: Mass timber using adhesives emerged in the 20th century. The novel idea of adhering small dimensioned lumber together to create massive elements is the genesis of all modern mass timber technology. This practice allows for timber to be sustainably harvested for structural applications.</p><p>21st Century: Cross Laminated Timber (CLT) has quickly shifted from a bespoke building material to an affordable system being used to address the pressing need for affordable housing. 475 W. 18<span>th</span> St is a model project that was used to compare the carbon impact of building a multi-family residential building as compared to conventional reinforced concrete.</p>
Relatórios de organizações sobre o assunto "Art, Modern - 20th Century"
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Siebert, Rudolf J., e Michael R. Ott. Catholicism and the Frankfurt School. Association Inter-University Centre Dubrovnik, dezembro de 2020. http://dx.doi.org/10.53099/ntkd4301.
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The paper traces the development from the medieval, traditional union, through the modern disunion, toward a possible post-modern reunion of the sacred and the profane. It concentrates on the modern disunion and conflict between the religious and the secular, revelation and enlightenment, faith and autonomous reason in the Western world and beyond. It deals specifically with Christianity and the modern age, particularly liberalism, socialism and fascism of the 2Oth and the 21st centuries. The problematic inclination of Western Catholicism toward fascism, motivated by the fear of and hate against socialism and communism in the 20th century, and toward exclusive, authoritarian, and totalitarian populism and identitarianism in the 21st. century, is analyzed, compared and critiqued. Solutions to the problem are suggested on the basis of the Critical Theory of Religion and Society, derived from the Critical Theory of Society of the Frankfurt School. The critical theory and praxis should help to reconcile the culture wars which are continually produced by the modern antagonism between the religious and the secular, and to prepare the way toward post-modern, alternative Future III - the freedom of All on the basis of the collective appropriation of collective surplus value. Distribution and recognition problems are equally taken seriously.
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TITOVA, E. HISTORIOGRAPHIC REVIEW ON THE TOPIC OF THE STUDY OF MIGRATION PROCESSES IN THE RUSSIAN FAR EAST AT THE BEGINNING OF THE XXI CENTURY. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/2077-1770-2021-13-4-2-34-53.
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The article provides an overview of scientific research on the study of migration processes in the Far Eastern regions. The problems of migration, the state mechanism for regulating migration issues, and the peculiarities of interethnic interactions are very topical topics not only at the regional, but also at the national level. In the Russian Federation, studies on these topics have appeared relatively recently. Due to the fact that at the end of the 20th century there was a surge in the ethnic self-awareness of the peoples of the country, together with the intensification of socio-economic transformation processes, there are sharp, often radical, changes in the field of interethnic interactions, in particular, the growth of armed interethnic conflicts, an increase in migration outflows or inflows. etc. Modern scientific research in the field of migration processes is practice-oriented, that is, they are aimed at the implementation of narrow applied problems, there is also an increase in the accumulation of an updated extensive theoretical and methodological base. In particular, studies, for example, concerning the topic of interethnic interactions, are directly related to the topic of ethnic tolerance, which has also become very popular and in demand in the last decade for specialists from various scientific fields - psychologists, ethnographers, lawyers, etc.
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Jayachandran, Seema, Adriana Lleras-Muney e Kimberly Smith. Modern Medicine and the 20th Century Decline in Mortality: Evidence on the Impact of Sulfa Drugs. Cambridge, MA: National Bureau of Economic Research, junho de 2009. http://dx.doi.org/10.3386/w15089.
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Sanjurjo Casciero, Annick. Paraguay and Its Plastic Arts. Inter-American Development Bank, março de 1994. http://dx.doi.org/10.18235/0007910.
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Galenson, David, e Robert Jensen. Careers and Canvases: The Rise of the Market for Modern Art in the Nineteenth Century. Cambridge, MA: National Bureau of Economic Research, agosto de 2002. http://dx.doi.org/10.3386/w9123.
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Schacht, Kayley, Deidre Gonçalves, Aaron Schmidt e 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.), junho de 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.
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Malinowski, Owen, Scott Riccardella e Jason Van Velsor. PR-335-203810-R03 CT Fundamentals with Calibration and Reference Standards for Pipeline Anomaly Detection. Chantilly, Virginia: Pipeline Research Council International, Inc. (PRCI), março de 2022. http://dx.doi.org/10.55274/r0012216.
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X-ray Computed Tomography (XRCT) was initially developed and utilized in the medical industry to image the internal structure of the human body. X-ray imaging was conceived and realized at the turn of the 20th century and subsequently, XRCT, was conceived in the middle of the 20th century and its development continues today. Near the end of the 20th century industrial cone beam XRCT for applications such as dimensional metrology branched off, including its use for identifying and dimensioning flaws. XRCT has been utilized successfully for three-dimensional imaging of flaws in the small panel cut-outs from steel oil and gas transmission pipelines. However, the performance of XRCT on full-circumference pipe samples has not been assessed to determine if the technology can be used to obtain flaw dimensional information with the same accuracy that has been observed on panel cut-outs. This would enable the industry to generate full-circumference reference samples with well-characterize flaw dimensions, which would be much more practical and useful for qualification, certification, and validation of inline inspection and nondestructive examination tools, personnel, and procedures. This tasks for this project were to evaluate the state-of-the-art in XRCT technology, establish guidelines for XRCT scanning of pipeline samples, compare XRCT performance on artificial and natural flaws, and compare performance of lab-based and in-the-ditch XRCT technologies on artificial and natural flaws through scanning multiple samples utilizing multiple XRCT vendors and subsequently destructive testing the samples. The overall objective of the project was to determine if XRCT is a viable alternative to destructive testing for collecting "truth" data from flaw reference samples. Related webinar
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Jiang, Xiaowei, e John Cherry. History and Hydraulics of Flowing Wells. The Groundwater Project, 2023. http://dx.doi.org/10.21083/cpet1503.
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Because flowing wells are spectacular visual evidence of groundwater occurrence, they became the impetus for both qualitative and quantitative groundwater science. The pursuit of answers to fundamental questions generated by flowing wells in confined aquifers bounded by aquitards moved the science forward for more than a century until pumping became the main form of groundwater development. Since the turn of the 20th century, flowing wells in unconfined aquifers were an impetus for the paradigm shift from aquitard-bound flow to cross-formational flow driven by topography. In this book, the histories of drilling flowing wells in France, the US, Canada, and China—which led to important findings on hydraulics of flowing wells—are summarized. The occurrence of flowing wells in confined aquifers, unconfined aquifers and semi-confined aquifers are demonstrated by showing the corresponding forms of topography-driven groundwater flow from recharge to discharge areas in different aquifers. This book introduces classic models of steady-state and transient discharge rates from flowing wells without considering basinal groundwater flow fields as proposed by Dupuit (1863), Jacob and Lohman (1952), and Hantush (1959). Recent models of transient and steady-state discharge rates of flowing wells that consider basinal groundwater flow fields—which led to a clear understanding of sources of water derived in flowing wells—are also introduced. By providing a comprehensive description of flowing wells, this book is useful not only to understanding hydraulics of flowing wells, but also to understanding the history of groundwater science.
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Melnyk, Andriy. «Ареопагітика» Джона Мілтона і теорія вільного ринку ідей. Ivan Franko National University of Lviv, março de 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11732.
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The article is dedicated to one of the most famous rationales for the right to free expression of views and opinions, the marketplace of ideas theory, as well as John Milton’s pamphlet “Areopagitica” which is considered the first example of systematic protection of freedom of speech and the primary source for the theory. The combination of the author of the 17th century and the thinking that was finally formed in the 20th century should not be surprising, because Milton is considered the forerunner of marketplace arguments. Given the fact that freedom of speech is threatened today by authoritarianism amplified by modern technologies, as well as identity politics and political correctness, the actualization of arguments in its favor seems more relevant than ever. When covering the main topics of “Areopagitica”, emphasis is placed on the historical conditioning of Milton’s arguments. His position on freedom is based on ancient Greek models and seems rather elitist today, and his perception of heresy is pagan rather than Christian. It’s also worth remembering that Milton opposed pre-publication censorship but did not object to the persecution of dangerous ideas and books after publication, and also definitely excluded Roman Catholicism from the free circulation of ideas. Today, this kind of restriction is considered unacceptable. A fundamentalist interpretation of the free market of ideas which excludes any regulation is obviously not conducive to such a discussion. Utopian ideas about absolute freedom of speech rather harm it, give rise to inflated expectations and, as a result, disappointment in its capabilities or demonization. In this context, reading John Milton’s “Areopagitica” can be extremely instructive today. Key words: freedom of speech; marketplace of ideas; “Areopagitica”; censorship; identity politics; political correctness.
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Design in 20th Century Barcelona: From Gaudí to the Olympic Games. Inter-American Development Bank, fevereiro de 1997. http://dx.doi.org/10.18235/0006404.
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Fifty objects, from original bronzes and maquettes by Antoni Gaudí, to modern furniture and appliances, and Cobi, Javier Mariscal's design adopted for the mascot of the Olympic Games in 1992. The exhibit was developed with Barcelona architects Juli Capella and Quim Larrea, and presented in honor of the 38th Annual Meeting of the IDB Board of Governors held in March, 1997 in Barcelona. Most of the important 20th century Catalonian designers were represented, including Monegal, Sert, Bonet, Ricard, Tusquets, Lluscà, and Tresserra. Works were loaned from the Gaudí Museum at the Temple of the Holy Family, the Museum of Decorative Arts; the Museum of Arts, Industries and Popular Traditions; the National Museum of Catalonian Art, the Catalonian College of Architects, and the private collection of Juli Capella.