Siga este link para ver outros tipos de publicações sobre o tema: Art, Modern – 20th century – Political aspects.
Artigos de revistas sobre o tema "Art, Modern – 20th century – Political aspects"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Art, Modern – 20th century – Political aspects".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Darasz, Zdzisław. "Plakat polityczny w chorwackiej ikonosferze". Poznańskie Studia Slawistyczne, n.º 18 (28 de abril de 2020): 283–89. http://dx.doi.org/10.14746/pss.2020.18.17.
Texto completo da fonteResumo:
The titular problem of Croatian political poster, regarded as an art of margins, is treated by the author, according to the order of chapters, in four main aspects: historical, aesthetic, socio-political, and cultural one. The development of poster art, correlated with national history in 19th and 20th century Croatia, is presented in the chapter “In the vapour of history”. In the next chapters some particular sections of the searching field are described. These sections are as follows: technique of montage of the pictures, modern iconoclastic practices, chaos vs. order, and the place (“From margin to centre”).
2
Linden, Diana L. "Modern? American? Jew? Museums and Exhibitions of Ben Shahn's Late Paintings". Prospects 30 (outubro de 2005): 665–84. http://dx.doi.org/10.1017/s0361233300002222.
Texto completo da fonteResumo:
The year 1998 marked the centennial of the birth of artist Ben Shahn (1898–1969). Coupled with the approach of the millennium, which many museums celebrated by surveying the cultural production of the 20th century, the centennial offered the perfect opportunity to mount a major exhibition of Shahn's work (the last comprehensive exhibition had taken place at the Jewish Museum in New York City in 1976). The moment was also propitious because a renewed interest in narrative, figurative art, and political art encouraged scholarly and popular appreciation of Ben Shahn, whose reputation within the history of American art had been eclipsed for many decades by the attention given to the abstract expressionists. The Jewish Museum responded in 1998 with Common Man, Mythic Vision: The Paintings of Ben Shahn, organized by the Museum's curator Susan Chevlowe, with abstract expressionism scholar Stephen Polcari (Figure 1). The exhibition traveled to the Allentown Art Museum in Pennsylvania and closed at the Detroit Institute of Arts in 1999.Smaller Shahn exhibitions then in the planning stages (although not scheduled to open during the centennial year) were to focus on selected aspects of Shahn's oeuvre: the Fogg Museum was to present his little-known New York City photographs of the 1930s in relationship to his paintings, and the Jersey City Museum intended to exhibit his career-launching series, The Passion of Sacco and Vanzetti (1931–32). Knowing this, Chevlowe smartly chose to focus on the later years of Shahn's career and on his lesser-known easel paintings of the post-World War II era. In so doing, Chevlowe challenged viewers to expand their understanding both of the artist and his place in 20th-century American art.
3
Perry, Robert L., e Melvin T. Peters. "The African-American Intellectual of the 1920s: Some Sociological Implications of the Harlem Renaissance". Ethnic Studies Review 19, n.º 2-3 (1 de junho de 1996): 155–72. http://dx.doi.org/10.1525/esr.1996.19.2-3.155.
Texto completo da fonteResumo:
This paper deals with some of the sociological implications of a major cultural high-water point in the African American experience, the New Negro/Harlem Renaissance. The paper concentrates on the cultural transformations brought about through the intellectual activity of political activists, a multi-genre group of artists, cultural brokers, and businesspersons. The driving-wheel thrust of this era was the reclamation and the invigoration of the traditions of the culture with an emphasis on both the, African and the American aspects, which significantly impacted American and international culture then and throughout the 20th century. This study examines the pre-1920s background, the forms of Black activism during the Renaissance, the modern content of the writers' work, and the enthusiasm of whites for the African American art forms of the era. This essay utilizes research from a multi-disciplinary body of sources, which includes sociology, cultural history, creative literature and literary criticism, autobiography, biography, and journalism.
4
Juszkiewicz, Piotr. "Biuro, natura, wyobraźnia, wiejska chata, fabryczna hala. Wizerunki artystycznej pracowni w dokumentalnym filmie o sztuce czasów PRL-u". Artium Quaestiones, n.º 26 (19 de setembro de 2018): 149–69. http://dx.doi.org/10.14746/aq.2015.26.7.
Texto completo da fonteResumo:
Artists’ studios turned into museums are always specific representations of thepast – spatial images reflecting some idea of art and the artist, as well as his or herworks, and even the position of the spectator imagined as a visitor, admirer, insider,outsider or pilgrim.When a studio is shown through a film, its status of representation comes to theforeground very distinctly just because of the properties of the medium. A filmic representationof the studio is a result of combining images into a sequence, while individualimages attract the spectator’s attention to particular places, areas or aspectsof the space of creation, thus making him or her follow a certain trajectory of meaning.What is more, such a sequence does not have to be limited to the studio’s interiorsince the cinematic montage allows the director to expand it freely by adding somehistoricizing or contextualizing frames. Finally, film allows one to meet the artist inhis or her space through an interview, representation of the creative process or anactor-impersonator.In the first I discuss briefly three issues: the general idea of the present paperand its historical and theoretical contexts.First, my objective is to provide information on my research on Polish documentaryfilm on art in 1948–1989, which was financially supported by the Ministry ofScience and Higher Education. I was doing this research with help of a small team ofyoung scholars – phd students and a younger collegue from Institute of Art History atAdam Mickiewicz University in Poznań. In this article I will not address generalproblems related to the filmic representation of artists’ studios, but discuss severalindividual cases.Second, the historical context is connected with the hopes of totalitarian statesto use mass culture, and particularly film, to manipulate the masses. Even though inparticular decades of the 20th century, and in different countries, those hopes wereput into practice in different ways, their ideological and practical implementation hada common basis. That basis can perhaps be best described by Walter Benjamin’s ideathat a modern wish to regenerate the world requires the destruction of the auratic artand influencing the masses with some other kind of artistic creation that could organizethem according to a fixed political purpose. Benjamin believed that the most usefulin that respect would be film, which in his opinion was both technical and massoriented.The masses could receive film with little effort so that it would imperceptiblyform their mental and imaginative habits, and therefore also a political bias.My point is that the filmic representations of artists’ studios must be approachedin the general context of the role assigned to film in the communist Poland, eventhough one should also remember that artists had various attitudes and censors keptchanging their criteria of appropriateness. Still, the research focused on the representationof the artist, his or her studio, and the ideas of art will reveal an officially acceptedpicture to be transmitted into the public space. One the other hand, oneshould remember that within precisely defined political limits Polish documentary(and other) filmmakers could ignore commercial aspects and refer to the acknowledgedhigh position of art, experimenting in different ways with a relationship betweenfilm and the visual arts.Third, my theoretical context is related to the status of the documentary or, thatof reality represented in documentary films. In my view, shared also by a number ofscholars, documentaries have an element of creation and their reality is alwaysprocessed in one way or another. My examples will include studio as office, nature,space of imagination, village hut or cottage, and engine room.
5
Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (26 de junho de 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.
Texto completo da fonteResumo:
The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.
6
Makliuk, D. "Ivan Mazepa’s personality as a cultural symbol: historicalperforming aspects". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, n.º 55 (20 de novembro de 2019): 61–76. http://dx.doi.org/10.34064/khnum1-55.05.
Texto completo da fonteResumo:
Abstract. The article explores the image of I. Mazepa in the context of numerous sources devoted to the personality of the Ukrainian hetman in historical science, literature and music. The analysis shows that the ideas of the great Ukrainian in the works of art evolve: from a traitor to a patriot. If in the 18th – 19th centuries artists created this image being inspired by myths, then from the early 20th century and up to the present time the historical approach has been dominant. In this paper the author suggests performing aspect basing on the vocal and scenic image of I. Mazepa created by him on the stage of Kharkiv National Opera and Ballet Theater named after M. Lysenko. The interpretation of the extraordinary personality of the Ukrainian hetman gives the audience an opportunity to look at Mazepa from a historical perspective. It is noted that his image in this performance is not limited to a national vision, but acquires a universal character. I. Mazepa’s personality is of great interest to modern Ukrainians living both in their historical homeland and far beyond its borders. At present, contradictory assessments of Mazepa’s role in the chronicle of Ukrainian history require the establishment of historical and artistic truth. P. Tchaikovsky’s opera Mazepa is perceived as a fruitful material to search for a new interpretation of the image. It was first performed on the stage of Kharkiv National Opera and Ballet Theater named after N. V. Lysenko on July 2, 2017 to mark the 330th anniversary of Ivan Mazepa’s election as hetman of Ukraine. This fact gives a chance to bring into focus a relevant performing interpretation of the image of this outstanding figure in Ukrainian history. Among the numerous historians and literary critics cited in the article, we find a new interpretation of Mazepa’s image in contrast to music studies (N. Lupak’s dissertation). The method of analysis is conditioned by the creative practice of the KhNAOBTh and its own performance experience. The purpose of the study is to substantiate the reinterpretation of Mazepa’s vocal and scenic image in the production of the P. I. Tchaikovsky’s opera of the same name on the stage of KhNAOBTh named after M. Lysenko (2017) basing on the critical analysis of scientific historiography. The attitude towards I. Mazepa as a historical personality and a person has always been ambiguous. He combined the incomparable: on the one hand, he was a great military and political figure who fought for the creation of the Ukrainian state, on the other hand – a treacherous traitor; at his initiative, 26 Orthodox churches were created throughout Ukraine and, at the same time, he was an apostate devotee who took part in the destruction of Ukrainian cities and villages; a person capable of loving in the broadest sense of the word. He had everything that attracted and aroused great interest of writers, composers, artists, directors not only in our country but also far beyond its borders. And each author interpreted the image of Mazepa in their own way. In the 19th century, the image of the Ukrainian hetman fell into the area of artistic interests of M. Staritsky. He, like Voltaire and Byron, used the Western European legend of Mazepa in the novel “Mazepa’s Youth”, which was appropriate for its genre (historical-adventure). Naturally, the idea of “independent Ukraine” did not fit into Russia’s interests. In Tchaikovsky’s opera Mazepa (1883), based on A. Pushkin’s story (libretto by V. P. Burenin) everything is quite complex. It is important to note that many researchers of Tchaikovsky’s creativity believe that in Tchaikovsky’s Mazepa historical facts are sidelined while lyrical love scenes dominate. There were a number of questions when the image of Mazepa was ctreated in the original Ukrainian version of the opera on the stage of Kharkiv National Academic Opera and Ballet Theater named after N. Lysenko. The main one is how to maintain faithfulness not only to historical but also to the life’s truth? The times of the Hetmanate in Ukraine were silenced for about 300 years, and, in particular, the true life of one of its most famous representatives was unknown. But in order to create an image, it is important to know the smallest shades of your character’s psychotype. As the lyrical scenes of Mary and Mazepa are the central line in the opera, it is necessary to understand what kind of relationship they really had. Kharkiv stage directors of P. Tchaikovsky’s opera (director Armen Kaloyan and conductor People’s Artist of Ukraine Garkusha) sought to convey this very episode from the life of Mazepa, who openly loves his darling and suffers from having to cruelly deal with her father and hurt her badly. In addition, there was created their own version of the text (by Victor Marinchak, Svetlana Oleshko and Mikhail Barbara) and changes were made to the musical dramaturgy of the opera. The main idea of stage directors was to transform the content of the opera into another field – to reveal the image of the hetman as a significant figure in the history of Ukraine, which was much more important for Mazepa than the alliance with Peter I. The difficulty of creating a vocal and scenic image of Mazepa lies in its multi-vector character, which should not interfere with artistic unity and integrity: Mazepa-lover (in the tradition of Western European romanticism), Mazepastatesman (Ukrainian national tradition) and, at the same time, in the interpretation of Kharkiv theatre Mazepa-traitor had to be neutralized (an enemy that is characteristic of Russian imperial thinking). The motives of torments, sorrow and, along with this, the rebellious nature of the protagonist become considerable in the opera, rising to genuine symbolism. Thus, in the vast number of works dedicated to I. Mazepa, his image is not limited to the national framework, but acquires a universal significance. Conclusions. Analysis has shown the evolution of ideas about the great Ukrainian: from traitor to patriot and legendary hetman. If in the 18th century the image of the Ukrainian hero was interpreted in many ways by its creators on the basis of myths, then in the 20th – 21st centuries the historical approach prevails in understanding performing interpretation of Mazepa. The creation of a complex, extraordinary personality on the opera stage requires from the performer, in addition to knowledge of Mazepa’s vocal part, a thorough study of various axiological judgments. The above given interpretations of I. Mazepa’s image reflect the irreconcilable confrontation and “blood” belonging of one or another author to different systems of values of the worldview. Such interpretations indicate that the image of I. Mazepa is interpreted as a symbol, an archetype of the national opera tradition. Undertaking further study of the theme can involve performing analysis of Mazepa’s image on the stages of Kyiv and Odessa opera theaters with a view of understanding the performing principles when teaching young vocalists in the class of solo singing.
7
ЧАУС, Дмитро. "The didactics of colour in art and artistic education of the 20th century". EUROPEAN HUMANITIES STUDIES: State and Society 2 (27 de junho de 2019): 40–50. http://dx.doi.org/10.38014/ehs-ss.2019.2.04.
Texto completo da fonteResumo:
The purpose of the study is the color as a phenomenon of semantic - cultural and educational potential in art and art education. In the article, the significance of color is revealed in the aspect of historical and national peculiarities taking into account the development of modern color didactics. It has been proved that the development of color thinking is an expression of the spiritual and cultural level of society, as well as one of the main aspects in the training of future professionals in artistic professions. A historical analysis of color education in art education was conducted, color concepts and methods of work with the color of some outstanding artists and teachers were considered. The cultural and educational significance of color in the picturesque legacy of V. Kandinsky, K. Malevich, M. Krymov and other artists was considered, the discovery and achievements of which, in the field of color education of specialists, formed the basis of modern color didactics. The methodology of the research is to apply comparative, historical and logical methods with the use of cultural approaches. This methodological approach allows us to reveal the problem under study from a philosophical, pedagogical, cultural and artistic point of view. Analysis, systematization and generalization of theoretical and empirical provisions allowed to determine the state of color education of future specialists of artistic profiles in its historical aspect. Conclusions It is proved that the development of color thinking is an expression of the spiritual and cultural level of society, as well as one of the main aspects in the process of color education of future specialists in artistic professions.
8
Kuhutiak, Mykola, Ihor Raikivskyi e Oleh Yehreshii. "Halychyna. Journal of Regional Studies: Science, Culture, and Education. Twenty Years of Publishing Activity". Journal of Vasyl Stefanyk Precarpathian National University 4, n.º 2 (30 de outubro de 2017): 134–38. http://dx.doi.org/10.15330/jpnu.4.2.134-138.
Texto completo da fonteResumo:
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
9
Sernelj, Téa. "Different Approaches to Modern Art and Society: Li Zehou versus Xu Fuguan". Asian Studies 8, n.º 1 (10 de janeiro de 2020): 77–98. http://dx.doi.org/10.4312/as.2020.8.1.77-98.
Texto completo da fonteResumo:
Proceeding from the inseparable relation between ethics and aesthetics in traditional (and often also modern) Chinese thought, this article aims to illuminate two important approaches to the aesthetic foundations of Chinese modernity. The relation between the individual and society, which is a core question of modern ethics, is reflected in most of the ethical theories of 20th century China. In this context, the article first presents Li Zehou’s theory of aesthetics and his definition of aesthetic experience. In this way, it aims to illuminate Li’s interpretation of modern art and society, and to posit it into a contrastive position to Xu Fuguan’s ethico-aesthetic theories, especially the ones regarding modernity and Western culture. The basic approaches applied by these two important modern Chinese scholars reveal great differences in attitude towards the spiritual and material development of humanity in the 20th century, which is especially interesting since they are both rooted in the abovementioned belief that ethics cannot be separated from aesthetics. Besides, Li Zehou sincerely admired Xu Fuguan’s work on traditional Chinese aesthetics and referred to his comprehension of general concepts of traditional Chinese aesthetics in many of his own works dealing with aesthetics.
10
Gultyaeva, Galina S. "Realistic Painting of the 20th Century China in the Context of Cultural Visualization". Observatory of Culture 18, n.º 1 (24 de maio de 2021): 32–43. http://dx.doi.org/10.25281/2072-3156-2021-18-1-32-43.
Texto completo da fonteResumo:
This article examines the phenomenon of Chinese realism, as well as the prerequisites and factors that influenced the processes of reception in modern Chinese art. At the beginning of the 20th century, under the influence of Western academic realism and the artistic system of social realism, a new direction and artistic method was formed — realism, which became mainstream in the art of China of the mid-20th century. According to its aesthetic and ideological motifs, Chinese realism is an object of social realism reception, which was determined by cultural and historical factors, and the development of political, economic and cultural ties with the USSR. Studying the realistic painting, which reflects the atmosphere of the era, the worldview, and the dialogue of cultures, is relevant for both Chinese and Russian contemporary art studies. The article examines the role of realism in the development of Chinese art culture of the 20th century, including its socio-political components, as well as the dynamics of artistic and expressive means and the iconographic system in the context of the historical and cultural situation. In the 1980s and 1990s, as a result of the liberalization of economic and political life, the artistic consciousness formed new concepts of realistic painting — neorealism and cynical realism, associated with a critical rethinking of the historical heritage. The neorealism and cynical realism, which would significantly enrich realistic painting with new forms and content, adopted Western postmodern concepts of pop art, and debunked, in a grotesque and satirical form, the political stereotypes of the past. The analysis of realistic painting of the 1990s demonstrates how the transformation of past painting canons reflects the desire of society to free itself from the pressure of totalitarian ideology and to rethink the value orientations of the previous era.The novelty of this study lies in the fact that it applies a systematic and holistic approach to the analysis of realism in Chinese painting, reveals the diversity of its forms and directions, and gives ground for the specifics of its evolution in the context of the artistic culture of the 20th century China. There are almost no comprehensive studies of this issue in modern art history, so this work is an attempt to create a scientific approach to the study of this artistic phenomenon and the formation of ideas about how the artistic consciousness of an entire epoch was changing.
11
Lucas, Scott C. "ABU BAKR IBN AL-MUNDHIR, AMPUTATION, AND THE ART OF IJTIHĀD". International Journal of Middle East Studies 39, n.º 3 (agosto de 2007): 351–68. http://dx.doi.org/10.1017/s002074380707050x.
Texto completo da fonteResumo:
Few Islamic concepts have undergone as radical a semantic shift over the past couple of centuries as ijtihād. This Arabic term, confined for centuries to sophisticated works of legal theory (uṣūl al-fiqh), has been liberated and transformed into the handmaiden of modern Muslim reformists throughout the world. Numerous Western scholars have investigated either the classical legal ijtihād of the first definition above or the modern employment of ijtihād among reformists encapsulated in the second, succinct gloss of this word. Valuable studies have been published on topics ranging from the relationship between ijtihād and writing fatwas (iftāء) to the so-called “closure of the gate of ijtihād” to the role of ijtihād in 19th- and 20th-century reform movements. In short, ijtihād is ubiquitous in modern studies and formulations of Islam.
12
Martonova, Andronika. "A whole century in the vibrating net of arts". Balkanistic Forum 29, n.º 3 (1 de novembro de 2020): 324–28. http://dx.doi.org/10.37708/bf.swu.v29i3.19.
Texto completo da fonteResumo:
The edition of Bratoeva-Darakchieva, Ingeborg; Genova, Irina; Levi, Claire; Spassova-Dikova, Joanna; Stoilova-Doncheva, Teodora; Tasheva, Stela; Traykova, Elka. Bulgarian 20th Century in Arts and Culture. Institute of Art Studies, 2019, ISBN: 978-954-8594-77-6, 632 рр. 333 ill. http://artstudies.bg/books/BG_XX_EN_2019_IIIzk.pdf in Bulgarian and in English in two separate books comes as a result of a collaborative interdisciplinary project supported by the National Science Fund, Bulgaria, which aims to present a general view on the history of arts in Bulgaria during the 20th century. There are specific but also general, parallel intellectual and artistic processes observed in the field of literature, theatre, music, cinema, visual arts and architecture. The accent is put on phenomena related to the modernization of Bulgarian culture and its place in the context of the flexible, dynamic cultural dimensions of modern Europe. The texts are structured in three parts: Under the Sign of Modern Europe (1878–1944), Metamorphoses of Modernity (1945–1989), Challenges in a Time of Transition (1989–2000). Splitting the period into topical parts creates convenience of sharpening the accents related to various “aspects of change” in the development of a particular art and its specific reflections from the point of view of personal and community identity analysed in synchronous or diachronous terms. The marking of such cross nodes (temporal, socio-cultural, institutional, genric, etc.) by following mosaic-chronological principle is conventional and provocative to the traditional idea concerning developmental trends in Bulgarian culture of the past century. The publication is richly illustrated and has an extensive bibliography. It is intended for a wide range of readers. It is evaluated as excellent edition by the National Science Fund, Bulgaria.
13
Shaulov, Sergey S. "The Idiom “Twice Two is Four” in Russian Literature of the 20th Century". Проблемы исторической поэтики 18, n.º 3 (julho de 2020): 266–89. http://dx.doi.org/10.15393/j9.art.2020.8182.
Texto completo da fonteResumo:
<p>The idiom “twice two is four” along with its variations is seen in the article as a marker of the situation of an “underground man”. In literature of the twentieth century the “underground” in its ethical and philosophical aspects has expanded its meaning, becoming the context of a utopian and antiutopian thought, absorbing the tragic experience of Russian culture after Dostoevsky. Of course, the widespread locution “as sure as twice two is four” does not always point at this variety of meanings, but it can be reached only in combination with the psychological type of the “underground man”. Thus, the image of Stalin in the novel “the First Circle” by Alexander Solzhenitsyn is considered as a variation of the “underground” consciousness. The problems of philosophical, history related to the evolution of this type of consciousness and actualized in this novel, remain important for modern literature. Another version of this philosophical collision is given in Victor Pelevin’s anti-utopian novel “S.N.U.F.F.”. In both of these cases, the situation of the underground person becomes a picture of a psychological and historical catastrophe. The negative development of the analyzed arithmetic formula in Russian literature of the 20th century encourages to look for another pole of tradition outside the “main” cultural domains. One of the variants of a moral escape from the trap of the “underground consciousness” can be found in the poetry of Alexander Bashlachev. The mythopoetical plot of the song “Verka, Nadka, Lyubka” is an exceptional variant of the development of the “underground man” topic. A starting point of the plot is just the formula “twice two is four”. The genre shift from lyricism to allegorical epic gives the poet an opportunity to reconstruct the Easter ideal of Russian culture, even if in a tragic and provocative form, close to the tradition of Russian foolishness for Christ.</p>
14
Darwish, Hisham A. "The Alcaic Odes of Horace and Greek Poems of the Early 20th Century". Acta Antiqua Academiae Scientiarum Hungaricae 60, n.º 1-2 (24 de junho de 2021): 149–70. http://dx.doi.org/10.1556/068.2020.00010.
Texto completo da fonteResumo:
SummaryThis article is concerned with shedding light on two examples of influence between Horace and the Greek poets, both ancient and modern. The aim of this paper is to shed light on several parallel aspects between two of the Alcaic odes of Horace and two modern Greek lyric poems by Constantine Cavafy and Angelos Sikelianos, respectively. Subsequently, I show, within the wider framework of inter-textuality, a subtle example of the utilization and re-utilization of lyric elements that are originally ancient Greek in nature by the Latin and modern Greek poets. In my argumentation, I will rely on textual similarities, as well as on the views expressed by scholars in non-comparative contexts The paper is divided into two parts. In the first part, I compare Horace’s carm. 2. 3 with Cavafy’s Ithaka. The most important points of comparison in this section are three common features: instructive tone, the epicurean tendency and the melancholic end. In the second, I compare Horace’s carm. 1. 37 with Sikelianos’ Dithyramb. The most important points of comparison in this section are three common features, namely, the connection of the Bacchic ecstasy to political issues, the connection of the Dionysiac spirit to the struggle against the national enemy and the association of Bacchic frenzy with hunting and chase.
15
Morozov, Ilya. "Political Communicativistics: The Evolution of Understanding the Role of Information in Political Process". Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija 26, n.º 3 (30 de junho de 2021): 58–71. http://dx.doi.org/10.15688/jvolsu4.2021.3.6.
Texto completo da fonteResumo:
Introduction. The article is a survey study, the purpose of which is to analyze the evolution of concepts in the field of political сommunicativistics, aimed at understanding the role of information in the system of political processes from the middle of the 20th Century to the present day. Methods and materials. As the main toolkit for working with scientific texts, methods of qualitative text analysis, focused on the study of the conceptual description of social problems, aspects of the interaction between government and society were used. As materials for the analysis, the texts of Russian and foreign scientists devoted to the study of the role of information in public administration and in political processes and published in one of the leading scientific periodicals or central scientific publishing houses were used. Analysis. The article establishes the objective factors of enhancing scientific research in the subject area of political сommunicativistics in the 20th Century, examines the modern understanding of the role of information in the processes of public administration, the influence of the general information theory and the cybernetic approach on the development of Russian political communication. Result. Modern political science concepts do not demonstrate a unified understanding of the “information future” image that emerges under the influence of the “digital revolution”. The range of approaches is wide, from the libertarian assumption of a gradual weakening of the state functions and the transition to direct democracy, when citizens are in direct contact with each other using the technologies of the information and communication system of Internet and do not need the mediation of professional state administrators, to the revival of totalitarian forms of government based on control over information flows. The tendency of Russian scientists to correlate with the trends of state policy, shifting their research topics to the political aspects of information security, social networks and the activity of opposition public associations on the Internet, was revealed as the dominant trend at the current stage. This trend is ambiguous – it corresponds to the nature of modern challenges and threats in the information sphere, but in the future it can negatively affect the volume and quality of fundamental theoretical developments, and decrease the interest in them.
16
Włodarczyk, Wojciech. "1989. On the Concept of Modernism". Artium Quaestiones, n.º 30 (20 de dezembro de 2019): 257–70. http://dx.doi.org/10.14746/aq.2019.30.14.
Texto completo da fonteResumo:
The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.
17
Włodarczyk, Wojciech. "Rok 1989 – wokół pojęcia modernizmu". Artium Quaestiones, n.º 30 (20 de dezembro de 2019): 415–28. http://dx.doi.org/10.14746/aq.2019.30.25.
Texto completo da fonteResumo:
The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.
18
Belugin, A. Yu. "Evolution of the Concept of Food Security: History, Stages, Modern Interpretation". Scientific Research of Faculty of Economics. Electronic Journal 11, n.º 2 (28 de junho de 2019): 122–43. http://dx.doi.org/10.38050/2078-3809-2019-11-2-122-143.
Texto completo da fonteResumo:
The article describes the evolution of approaches to the concept of food security and its components in the world. Highlighted that the development is non-linear and the emphasis in the attention of the world community and political decision-makers to aspects of food security depends largely on the economic situation. In the 20th century, food security issues moved from the national to the global level, with subsequent involvement at the household, individual and nutritional levels. Noticed that the world tendency to synthesize and combine the problems of food security and nutrition security still does not find proper reflection in Russian scientific papers, legal documents and methods of food security assessment, indicating the possible direction of their improvement.
19
Malkin, Stanislav. "Transfers of Colonial Order: Internal Security Models after the Great War (Methodological Aspect)". ISTORIYA 12, n.º 6 (104) (2021): 0. http://dx.doi.org/10.18254/s207987840016088-5.
Texto completo da fonteResumo:
The article reveals the possibilities of historical reconstruction of the experience of the leading European powers in matters of the transfer of the colonial order in the “short 20th century”, including its reception outside the global empires, which are opened thanks to the methodological synthesis of the «New Imperial history» and “New Cold war history”. Specific historical examples in the widely interpreted chronological framework of decolonization, including the Interbellum era, show how such an approach helps to restore gaps in the historical genealogy of modern models of internal security in the face of growing and protracted civil conflicts, often of a hybrid nature. The findings broadened the understanding of the expertise and nature of the domestic security policies of leading Powers by identifying the gap between relevant practices and their consistent mythologization, including in historiographical form.
20
Rogozińska, Agnieszka. "Theoretical aspects of modern security threats. Definitions, typologies, evolution". Scientific Journal of the Military University of Land Forces 199, n.º 1 (18 de março de 2021): 86–95. http://dx.doi.org/10.5604/01.3001.0014.8112.
Texto completo da fonteResumo:
In the literature on the subject, the term “security” is accompanied by the terms “non-threatening state”, “non-threatening state of peace”, “state of peace”, “state of certainty”. The lexical meaning of the term (Latin sine cura – no worries) should be understood as a situation in which there are no threats. In the context of lexical meaning, the term security means a risk-free situation. Contemporary understanding of the term focuses its attention on learning security understood as the resultant of the theory and practice of providing a reference subject with the possibility of survival (existence) and the pursuit of own interests, particularly using opportunities, taking challenges, minimizing risk and counteracting all types of threats. Definitive approaches to the term security indicate that it should be understood as a state and process. The state of security should be understood as a sense of confidence of the subject and guarantee of its survival, while the process – as chance for improvement and development of state’s means to protect and defend it. The current catalog of security threats proposed by Barry Buzan was extended in the second half of the 20th century from military nature threats to threats of a political, economic, social, and environmental nature. These changes have redefined the modern understanding of security. The main research problem was formulated as the question: what are the theoretical aspects of contemporary security threats? The article aims to analyze and diagnose contemporary definitions of security and its threats. The research process uses methodological methods of scientific cognition, mainly analysis and criticism of literature.
21
Zhukenova, Zhazira D., e Zhazira Zh Zhekibaeva. "Development Stages of the Modern Jewelry Art in Kazakhstan". Observatory of Culture 16, n.º 3 (19 de julho de 2019): 322–32. http://dx.doi.org/10.25281/2072-3156-2019-16-3-322-332.
Texto completo da fonteResumo:
In the context of globalization of the modern world and the growth of intercultural interaction, the question of spiritual development of the nation, the issues of formation, establishment, and the main trends in the further evolution of its art become the subject of research by many art historians, who, through the use of their topical articles and speeches, have made conditions for the further improvement of art studies in Kazakhstan.Currently, the Republic of Kazakhstan is on the way of radical changes in its political, economic and cultural system, which became possible with the acquisition of Kazakhstan’s status as a sovereign state.Scientists of Kazakhstan — historians, ethnographers, culturologists, art experts of the 20th—21st centuries — conducted comprehensive studies of the history, culture and art of the Kazakh people. Special attention was paid to description of the traditional types of applied art (felting, weaving, embroidery), as well as the work of master jewelers.While the traditional types of applied art have been widely described and studied by art historians in ethno-cultural aspects, the professional jewelry art of Kazakhstan, the work of modern national masters are still insufficiently investigated, including the issues of archaic and traditional forms interpretation in today’s jewelry art.Contemporary jewelry artists working in the most topical forms keep the Kazakh traditions of jewelry craftsmanship: they use generally accepted techniques of metal processing in their works, creatively interpret traditional forms.The active use of the established techniques by modern masters is complemented by the latest technology.The artistic features of modern jewelry are based on the author’s interpretation of forms and techniques of traditional jewelry art; there is a kind of synthesis: a mixture of traditions of the Kazakh craft, techniques of folk applied art, and current artistic trends.
22
Keshmirshekan, Hamid. "Modern Art in the Arab World, Primary Documents: A Review Essay". Review of Middle East Studies 54, n.º 2 (dezembro de 2020): 342–51. http://dx.doi.org/10.1017/rms.2021.4.
Texto completo da fonteResumo:
The study of modern and contemporary art from Islamic lands, and particularly the Arab world, is a developing field. Over the past few decades, a variety of publications on modern and contemporary art from the Arab world and its diasporas has appeared in art magazines, journals, and exhibition and auction catalogues. There is, however, still a lack of scholarly literature and reliable resources on the subject. Many such existing sources have focused on productions that are largely in line with certain interests or agendas pursued by the particular magazine/journal, exhibition, or art market in question. Therefore, although recent scholarly output has played a crucial role in introducing modern art in the Arab countries in the Middle East and North Africa, these publications have not sufficiently filled the gap of discussion regarding certain aspects of the subject. Modern Art in the Arab World, a collection of critical writings by Arab intellectuals and artists, offers an unparalleled source for the study of modernism in the Arab world. Mapping the primary documents with additional entries written by the editors and other scholars, this book addresses the major historical, conceptual, theoretical, and aesthetic issues that inform the modern art paradigm in the Arab world. Arranged largely in a chronological order, it explores the art of the Arab world by tracing the main discourses that have shaped artistic practices and transformations in the region from the mid-nineteenth century until the late 1980s.
23
Pirozhkova, Sophia. "PHILOSOPHY AS ELEMENT OF RUSSIAN SCIENTIFIC SYSTEM: HISTORICAL ASPECTS OF PROBLEM". Studia Humanitatis 17, n.º 4 (dezembro de 2020): 4–14. http://dx.doi.org/10.15393/j12.art.2020.3661.
Texto completo da fonteResumo:
The article offers a rational reconstruction of the history of the development of Russian philosophy as a scientific discipline. The relevance of this reconstruction is due to the need for a new self-determination of philosophy in the structure of scientific knowledge. This need is caused, on the one hand, by the world-wide transformations of science as a cognitive, social and cultural phenomenon, on the other hand, by the fact that Russian science is undergoing a period of reforms that pose urgent questions for Russian philosophy to fix its features, functions and tasks as a scientific discipline in new conditions. The article shows that philosophy appears in Russia as part of an integral system of rational knowledge, or rather as part of a kind of socio-cultural project of such system. This system inherits the Ch. Wolff’ project. It is characterized by the absence not only of the modern differentiation of sciences, but also of the later opposition between philosophy and science. In a short time by historical standards, the emancipation of natural science disciplines begins, seeking to privatize the status of scientific knowledge. However, since the beginning of the XIX century, it is not self-determination in opposition of science acquiring its modern face, but the socio-political context that determines the fate of Russian philosophy, setting various forms of its institutionalization. This dependence persists in the twentieth century, when the role in the Soviet socialist project returns philosophy to the central place in the structure of scientific knowledge, as it was in the Wolff’ system, while discrediting it as a scientific activity. It is proved that since the end of the 1950s, Russian philosophy has begun to partially rebuild itself as a scientific discipline, creating prerequisites for the retention of academic and university philosophy after the collapse of soviet ideology.
24
Houvenaghel, Eugenia. "Las presencias de la Reto´´rica en la obra de Alfonso Reyes: Esbozo de una evolucio´´n". Rhetorica 21, n.º 3 (2003): 149–74. http://dx.doi.org/10.1525/rh.2003.21.3.149.
Texto completo da fonteResumo:
The Mexican diplomat Alfonso Reyes (1889––1959) was notable in the cultural panorama of Spanish America in the first half of the 20th century for his acquaintance with classical rhetoric, a discipline rarely studied at that time in that part of the world. This article distinguishes four aspects of rhetoric throughout Reyes' oeuvre: (i) a vulgar sense, (ii) an erudite sense, (iii) classical theories, (iv) and modern applications. In his early work, Reyes uses rhetoric in a pejorative and vulgar sense. Around the year 1940, Reyes starts to show a lively interest in rhetoric, opts definitively for an erudite sense of the term, and initiates the study of the classical art of persuasion. In his third phase, Reyes gains deeper knowledge of rhetoric, lectures on the subject, and explains his favorite orators andtheorists. Finally,his use of rhetoric reveals a commitment to the reality of Spanish America. Reyes' rhetoric is an "actualised" and "Americanised" version that shows the possibilities of the classical art of persuasion in Spanish American society.
25
BROWN, CHRISTOPHER. "The Renaissance of Museums in Britain". European Review 13, n.º 4 (outubro de 2005): 617–36. http://dx.doi.org/10.1017/s1062798705000840.
Texto completo da fonteResumo:
In this paper – given as a lecture at Netherlands Institute for Advanced Study in the summer of 2003 – I survey the remarkable renaissance of museums – national and regional, public and private – in Britain in recent years, largely made possible with the financial support of the Heritage Lottery Fund. I look in detail at four non-national museum projects of particular interest: the Horniman Museum in South London, a remarkable and idiosyncratic collection of anthropological, natural history and musical material which has recently been re-housed and redisplayed; secondly, the nearby Dulwich Picture Gallery, famous for its 17th- and 18th-century Old Master paintings, a masterpiece of 19th-century architecture by Sir John Soane, which has been restored, and modern museum services provided. The third is the New Art Gallery, Walsall, where the Garman Ryan collection of early 20th-century painting and sculpture form the centrepiece of a new building with fine galleries and the forum is the Manchester Art Gallery, where the former City Art Gallery and the Athenaeum have been combined in a single building in which to display the city's rich art collections. The Ashmolean Museum in Oxford, of which I am Director, is the most important museum of art and archaeology in England outside London and the greatest University Museum in the world. Its astonishingly rich collections are introduced and the transformational plan for the museum is described. In July 2005 the Heritage Lottery Fund announced a grant of £15 million and the renovation of the Museum is now underway.
26
Engler, S., J. Luterbacher, F. Mauelshagen e J. Werner. "The Irish famine of 1740–1741: causes and effects". Climate of the Past Discussions 9, n.º 1 (15 de fevereiro de 2013): 1013–52. http://dx.doi.org/10.5194/cpd-9-1013-2013.
Texto completo da fonteResumo:
Abstract. This paper advances the current debate on causes and effects of famines. Since Sen's food entitlement decline theory emerged in the 1980's, climate and environmental factors are widely excluded in famine analysis. Studying the causation and the processes of famines as well as the adaptations to it before the 20th century will enhance modern famine theories and lead to a rethinking of the role of climate/environmental aspects in current research. In our case study, the "Famine Vulnerability Analysis Model" (FVAM) serves as an explanatory model and will open up new perspectives on famines. Special emphasis will be put on the Europe-wide crises of 1740–1741, with a focus on the famine of the "great frost" in Ireland. The interaction of demographic, political, economic and environmental aspects is characteristic in this famine.
27
Melnyk, Ivan. "The role of Ukrainian folk ornament in the Art Nouveau graphic: theoretical and applied aspects". Bulletin of Lviv National Academy of Arts, n.º 41 (26 de dezembro de 2019): 11–18. http://dx.doi.org/10.37131/2524-0943-2019-41-02.
Texto completo da fonteResumo:
Background. The article deals with the basic conceptual foundations of the "Ukrainian style" in the art of the late 19th – early 20th centuries, primarily in the field of searching for actual ways of adaptation and creative rethinking of Ukrainian folk ornament motifs. A special role in this process was played by the use of graphics, whose artistic language has evolved rapidly under the influence of contemporary European styles. However, in the graphic works of Ukrainian artists, the appeal to folk ornamentation was one of several ways of self-identification with the national artistic tradition, so the practice of integrating those ornamental motifs into the book and magazine illustration was a significant component of the creative work of many artists during that period. Objectives. This paper aims at defining the role and importance of Ukrainian folk ornament in the modern (art nouveau) graphic, based on consideration of theoretical and applied aspects of the use of ornamental motifs, their creative comprehension by graphic artists of different regions of Ukraine. Methods. In this article we rely on art historian methods and general scientific methods, such as analysis and synthesis, analogy and system analysis to outline the features of several variants of the "Ukrainian style", representing different regional differences. Comparative analysis, methods of systematization and typology were used to reveal the peculiarities of the transformation of ornamental motifs under the influence of the individual manner of each artist and to present the theoretical background of the folk ornament usage, including concepts of the development of "Ukrainian style" in the visual and decorative arts. Results. This article outlines several concepts of the use of Ukrainian folk ornament motives, elaborated by Ukrainian artists in the beginning of 20th century, period, which chronologically corresponds with the time of the paneuropean expansion of the art nouveau style. We can name an independent research of S. Vasylkivskyy, that allowed him to understand the artistic language of the Ukrainian ornament of different historical periods, and allowed the development of complex projects of interior design for new buildings. His projects demonstrate a harmonious synthesis of the traditions of folk art of the Dnieper Ukraine and Slobozhanshchyna (including specimens of paintings, carpets, ceramic tiles). Instead, V. Krychevs’kyy more often appealed to the ornamentation of Ukrainian weaving, while the main sources of decorative motifs for him were the ancient manuscripts, engravings and applied art of the Hetmanate. O. Slastion also addressed the study of the semantics of ornaments and their function in the system of folk art and culture in general. At first, he applied his own ideas in the projects of decoration of new buildings, constructed at the end of the XIX century in Poltava region, and later focused on the problem of updating the language of Ukrainian graphic art. The genre differentiation of graphic arts actually accelerated the separation of the Ukrainian voice from the general eclectic Russian-imperial culture. The area through which this process could gain more momentum was an art postcard, which at that time became one of the catalysts for the formation of new communication standards in cities and towns. Popular authors in this specialization were A. Zhdakha, O. Slastion, S. Vasylkivskyy, who gave impetus to the main line of development of Ukrainian graphic design of "small forms" at an early stage of its formation. It is interesting to compare different author's approaches to the practice of incorporation and stylizing ornamental motifs – for example, M. Sosenko uses a much more extensive range of primary sources, among which not only is available local material (Ukrainian Carpathians' applied art, handwriting book of the 16th–17th centuries), but also folk art crafts of the Dnieper Ukraine and Slobozhanshchyna and at the same time he modernizes them under the influence of the secessionist style. During the early stages of the art nouveau development in Halychyna (1897–1907), which researchers call ornamental, book and magazine graphics, architecture, and fine arts became the areas where new trends emerged very fast. This process was facilitated by the similarity of artistic language in the works of graphics, monumental and decorative arts, in particular the use of sections of local color, subordinated to a clear linear pattern, which is perceived as a kind of outline for the main elements of the image. The ornamental motifs in the art of secession were interpreted as peculiar symbols – in the Ukrainian version of this style the ornamentation of folk art, especially the local Hutsul tradition, becomes especially important. Conclusions. An important part of the strategy of national art revival of the late 19th – early 20th centuries was the introduction of ethnographic motifs to contemporary works of art. Architecture and graphics have undeniable advantages over other art genres in the sense of rapidly spreading the language of the new Ukrainian style to the widest audience possible. A special place was given to the printed postcards, the authors of which – both famous and anonymous artists, addressed primarily ethnographic topics. It is also important that, regardless of the specifics of regional variants of art nouveau, the practice of introducing ornamental motifs, plots and the images of Ukrainian folk art, re-imagined in more modern way, was a significant factor in asserting national identity, and was aimed at developing a universal artistic language.
28
Simsone, Bārbala. "Zinātniskā fantastika kā ideoloģiskais ierocis". Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, n.º 25 (4 de março de 2020): 165–75. http://dx.doi.org/10.37384/aplkp.2020.25.165.
Texto completo da fonteResumo:
Since one of the main characteristics of the science fiction genre is the modelling of future societies, often from the safe distance perspective drawing quite visible parallels with those of the present world, the discussion about political and social topics has been an integral part of the genre since the beginnings. Moreover, since science fiction, especially regarding the subgenre of utopia, allegorically projects a particular ideology in an imaginary world, certain propaganda was also frequent compound in the genre works. These factors were largely responsible for the fact that some political regimes, especially those of the 20th century, made direct and indirect use of science fiction as a powerful tool of ideological propaganda that helped to turn the thinking of readers, especially young people, in the direction favoured by the regime. Still, it must also be remembered that the presence of political ideas in the science fiction works as well as interpretation of these works has always been quite a complicated matter, and science fiction authors frequently found ways to circumnavigate the limitations set by censorship and include messages unflattering to the regime in their works. The paper provides an insight into the aspects of relationship between science fiction and ideology in contemporary literary theory, turns a particular attention to the practical aspects of these relationships as they formed during the 20th century in the literary space of Soviet regime – discussing original works as well as translations and literary criticism; finally, the paper outlines some topical ideological directions visible in modern science fiction works.
29
Gulyaev, Alexander V., e Alexey A. Ivanov. "ON THE REVIVAL OF RELIGIOUS INSTITUTIONS: ALL-RUSSIAN TRENDS AND REGIONAL ASPECTS (late 20th – beginning of 21st century)". Historical Search 1, n.º 4 (25 de dezembro de 2020): 18–27. http://dx.doi.org/10.47026/2712-9454-2020-1-4-18-27.
Texto completo da fonteResumo:
On the basis of the latest research and data of sociological sources, the article examines the revival of religious institutions in Russia in the late 20th – early 21th century. The relevance of scientific research is due to the important role of religious institutions in the process of development of civilization, culture, ideological education and social consciousness. Religion has been and remains the basis of an ideological instrument in any state since its inception. The evolvement and development of a rule-of-law state largely depends on the level of civil society development and on the ideological orientation of the population, which, in turn, is an objective social basis of a democratic state. In the last few decades, the issues of religion have been very actively covered in the media, religious programs have been appearing on TV, clerics are invited to talk shows, and the internet is filled with religious sites. The relationship between the existence of religious associations and changes in the socio-political situation in the country in individual confessions, including by changing the dynamics of their number is shown. Like any social institution, religion has its own special cultural symbols, which in an extremely concentrated form create a religious picture of the world in public consciousness. The level of civil society development is largely determined by the existence of autonomous public associations that unite the society and ensure its effective interaction with the state. The conclusion about the development of a certain system of institutional norms in the change of ideological standards in the modern Russian Federation is formed. Special attention is paid to the regional aspect of the problem on the materials of the Mari El Republic.
30
Scheid, Kirsten. "NECESSARY NUDES: ḤADĀTHA AND MUʿĀṢIRA IN THE LIVES OF MODERN LEBANESE". International Journal of Middle East Studies 42, n.º 2 (13 de abril de 2010): 203–30. http://dx.doi.org/10.1017/s0020743810000024.
Texto completo da fonteResumo:
In his studio in Beirut in 1929, the young artist Moustapha Farroukh (1901–57) envisioned a composition to change his society. He hoped his oil painting would incite broad support among his fellow Lebanese for a revolution in conventional gender relations and women's participation in the urban social order. He titled the picture The Two Prisoners and based it on a European convention for representing the East: the Nude odalisque (Figure 1). The resulting painting exemplifies the complex role Arab intellectuals of the early 20th century played in the formation of modern art and universal modernity. Leading artists in Mandate-era Beirut felt compelled to paint Nudes and display them as part of a culturing process they called tathqīf (disciplining or enculturing). To a large extent, tathqīf consisted of recategorizing norms for interaction and self-scrutiny. Joseph Massad has revealed that one crucial component of tathqīf was the repudiation of behaviors and desires associated with the Arab Past, such as male homosexuality. An equally important component was the cultivation of “modern,” “masculine” heterosexual eroticism and a dutiful feminine compliance associated with ḥadātha (novelty) and muʿāṣira (contemporaneity). This was accomplished through the use of a genre that was deliberately new and alien in both its material media and its impact on makers and viewers.
31
MIKKONEN, KAI. "The modernist traveller in Africa: Africanism and the European author's self-fashioning". European Review 13, n.º 1 (20 de janeiro de 2005): 115–25. http://dx.doi.org/10.1017/s1062798705000116.
Texto completo da fonteResumo:
The central question in this paper is the relationship between European modernist traveller's self-fashioning and the representation of Sub-Saharan African cultures, spaces and cross-cultural encounters in the early 20th century. The premise is that the cultural production of identity, including the question of artistic identity and poetics, is most productive where it is most ambivalent and uneasy. High modernist critical narratives pose the question of the phenomenology of travel in terms of textual authority. Authority, in the perception in late colonial European writing, was often simultaneously questioned and affirmed, meaning that Western art, and the modern society, were seen as lacking something significant outside of its margin. At the same time, the idea of the pure exotic emerged as incompatible with modern historical consciousness, and colonial texts anticipate many later theoretical ideas in postcolonial studies. The question is how to portray cross-cultural encounters, and how to fashion the self in the contact zone of travel and sojourn. Modernist travel writing asks what was the writer's self and the recognition of identity and difference in others. The modernist image of Africa carries important implications for the re-evaluation of art and literature and the renewal of artistic or narrative forms.
32
Zavidovskaya, Ekaterina A. "Tradition, Innovations and Historical Events in the Early 20th Century Chinese Calendars from the Russian Collections". Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, n.º 4 (2021): 204. http://dx.doi.org/10.31857/s086919080015487-2.
Texto completo da fonteResumo:
The paper discusses two types of Chinese calendars – a traditional agricultural calendar “nongli” which existed in China since the 9th century and a Westernized “yuefenpai” calendar that emerged in Shanghai in the late 19th century and flourished until the 30-40s of the 20th century. Apart from the lunar and solar calendars and a table of 24 seasons woodblock “nongli” calendar featured a Stove God Zao-wang alone or with a spouse surrounded by a suite, fortune bringing deities and auspicious symbols, Stove God was believed to ascend to heaven and report good and bad deeds of the family members to the Jade Emperor. New standards of “peoples`” art in PRC borrowed the aesthetics of the traditional woodblock popular prints by proclaiming “new nianhua” as a new tool of propaganda and criticizing “yuefenpai”.“Yuefenpai” differed from “nongli” by modern technology of production and acting as an advertisement, yet early pieces of Shanghai calendars either feature auspicious characters and motifs or introduce current political events, such as accession of the Pu Yi emperor on the throne in 1908 (reigned in 1908–1912). These calendars were seen to be a cheap and easily available media suitable for informing population about news and innovations. The paper attempts to revisit previously established interpretations of some “yuefenpai” calendars. The research is based unpublished pieces from the collections of the State Hermitage, the Museum of Anthropology and Ethnography, academic library of the St.-Petersburg State University, the State Museum of the History of Religion mostly acquired by V.M. Alekseev (1881–1951) during his stays to China.
33
Niemira, Konrad. "Much Ado About Nothing? Political Contexts of the 15 Polish Painters Exhibition (MoMA, 1961)". Ikonotheka 26 (26 de junho de 2017): 167–91. http://dx.doi.org/10.5604/01.3001.0010.1677.
Texto completo da fonteResumo:
The essay concerns 15 Polish Painters, the now slightly forgotten, but once famous exhibition of Polish contemporary art that took place at the Museum of Modern Art in New York in 1961. Initially, the exhibition was conceived as an expression of a thaw in relations between the United States and Poland, and it was organised at the diplomatic level. Organisational works began during Vice President Richard Nixon’s visit to Warsaw in August of 1959. They were coordinated by Porter McCray (who was responsible for MoMA’s touring exhibition programme) and Peter Selz (an art historian of German origin and a curator cooperating with MoMA). The Polish side withdrew from the project because of the abstract character of the works that Selz had selected and his disregard for the “offi cial” artists of the People’s Republic of Poland. The project was completed with the collaboration of American private galleries which bought the paintings in Poland and then loaned them to MoMA to be exhibited. The essay presents the behind-the-scenes history of organising the exhibition and its political context. It discusses the artistic message of the exhibition and the key used in the selection of its works. Finally, it touches upon the issue of Polish art’s reputation in the United States and the question as to why the Americans, wishing to present modern art from behind the Iron Curtain, decided, of all the countries of the Soviet bloc, to focus on none other than Poland. The aim of the essay is to fi ll the gap in the historiography, since the 15 Polish Painters exhibition is usually referred to only briefl y and has never been the subject of a scholarly enquiry. The event seems worth recalling also because it adds a nuance to the still current – as was confi rmed by Catherine Dossin’s much-talked-of book, The Rise and Fall of American Art, 2015 – and yet schematic view that in the middle of the 20th century there existed only two art centres, New York and Paris, thus completely overlooking the distinct character of the countries of the Communist bloc.
34
Babunych, Ulia. "Historical background, philosophical and aesthetic platform and ideological principles of Ukrainian modernism". Bulletin of Lviv National Academy of Arts, n.º 39 (2019): 38–52. http://dx.doi.org/10.37131/22524-0943-2019-39-03.
Texto completo da fonteResumo:
Ukrainian culture from the second half of the nineteenth century. developed with such main features - the transformation of a purely cultural movement into a national liberation movement, the formation of similar features in the cultural-process processes with the European laws. At the end of the nineteenth century. associates of Ukrainian culture, the main task of their position is the solution of a number of political and socio-economic issues. The process of national-cultural revival has gained strength since the 1880's in both parts of Ukraine and at the beginning of the 20th century. already yields concrete results. In Lviv there are active centers of cultural development. Similar processes have been taking place in the other part of Ukraine, activated by the idea of the revival of the Ukrainian national style. At this time, the intellectuals are much more cohesive, trying spiritually and politically self-determination. These moments were extremely important, for at that time, eastern and western parts of Ukraine, notwithstanding certain ideological points of contact, were not only politically delineated, but also mentally, culturally and spiritually. In Ukraine, the end of the nineteenth and early twentieth centuries. is characterized by changes in the cultural situation, which are marked by modern (modern) influences from the European West in the field of culture, philosophy, and creativity. The national renaissance acquires a qualitatively new meaning, characterized by the creation of distinctive national forms in all branches of artistic culture. For Ukrainian modernism, the inherent dependence on the geocultural features, the attachment of its representatives to their environment. At the same time, we observe differences in the genre specificity of modernism in the western and eastern Ukrainian territories, due to the influence of Russian or European art. The geographical location of Ukraine between the two parts of the world - Europe and Asia - led to the creation of a unique version of modernism in our territories (tied to national origins, folk folk sources, historical cultural heritage). Stylistic inspirations from different sources flocked to Ukraine, creating polyphony of its modernist art. The contradictory nature of the transitional period has been reflected in the formation of ideological settings of the art of the first third of the twentieth century. Modernism in Ukraine is characterized by an organic combination of the latest philosophical and aesthetic theories and traditional features of local culture. Philosophy played an important role in shaping the foundations of the "new" art and its artistic practice, giving an alternative way for a better understanding of it in the context of the metamorphosis of social consciousness. At the end of the XIX - in the first third of the twentieth century. especially the theories of intuitionism, existentialism, irrationalism, and so on. The theoretical works of Ukrainian artists of the first third of the 20th century, often with a philosophical and aesthetic basis, serve as a significant contribution in the context of the formation of not only a national version of modernism, but also a pan-European one. As a basis for artistic creation, modernists choose a symbolic-allegorical beginning, often serving as both generally accepted and purely national archetypes. If we sum up the process of national-cultural revival in Ukraine in the late nineteenth and early twentieth centuries, it should be noted that the national movement stimulated the political, social, economic, cultural, and scientific progress of society. Among the values of the intelligentsia was chosen intelligence of Western ideas, including ideas of modern Western philosophy and culture. Worldview principles of modernism in Ukrainian art include interpretation of the historical national and world creative heritage, the use of symbols and archetypes, mythology of creativity, rethinking the achievements of folk art and folklore traditions. Such directions of search determine the conceptual content of the Ukrainian art of this period and the main ideas of creativity of representatives of modernism.
35
Lufkin, Felicity. "The Cult of Happiness: Nianhua, Art and History in Rural North China. By James A. Flath. [Vancouver: University of British Columbia Press, 2004. 195 pp. $60.00. ISBN 0-7748-1034-3.]". China Quarterly 182 (junho de 2005): 446–47. http://dx.doi.org/10.1017/s0305741005300269.
Texto completo da fonteResumo:
James Flath's The Cult of Happiness is a stimulating and accessible book that contributes to more than one area of current concern in Chinese studies. The author effectively situates his work in relation to developing debates about print culture, alternative conceptions or experiences of modernity, and the relationship of popular culture to markets and to state power. It should also appeal to readers interested more generally in modern Chinese art, history and visual culture.In this general vein, the book would be valuable simply as one of only a very few English-language works that deal with woodcut-printed nianhua or New Year's Pictures. These pictures, which depict a range of subjects from gods to auspiciously fat babies to scenes from legend and history, were a ubiquitous part of Chinese household ritual and decoration well into the 20th century, and are still evoked in a variety of contexts in contemporary Chinese visual culture. For various reasons, they have not received as much scholarly attention as they should, especially in comparison to other popular print traditions, such as their distant Japanese cousins, ukiyo-e prints. As a genre, nianhua are believed to have quite a long history (Chinese sources, for example, often identify a print found in a 12th-century tomb as one of the earliest extent nianhua), and they were certainly made and circulated throughout China. Flath, however, wisely limits his study both temporally and geographically by focusing on the last decades of the 19th century and the first half of the 20th, when the vast majority of nianhua now extant were made, and on north China, which encompasses several of the most influential and best-documented centres of nianhua production.
36
Šimunić, Nikola, e Ivan Brlić. "Senjsko parobrodarstvo i socioekonomske prilike na prijelazu iz 19. u 20. stoljeće". Geoadria 19, n.º 1 (20 de abril de 2014): 101. http://dx.doi.org/10.15291/geoadria.41.
Texto completo da fonteResumo:
The authors of the paper examine the historical and geographical aspects of the emergence, development and decline of Senj’s steam-shipping as the crucial element of the overall social and economic progress of Senj at the turn of the 20th century. At the beginning of the 19th century, owing to the special city autonomy and the modern road connections, the Port of Senj was one of the most important maritime trading centres of the Croatian Littoral and the entire Adriatic in general, and its residents were important participants in social, economic and political turmoil of that time. Steam-shipping development has surely provided the residents of Senj a good market position in the times of demanding economic circumstances. The work also analyses important causes of weakening of Senj's economy, which during the period of the Kingdom of Yugoslavia isolated the city from the dominant maritime and economic processes, thus heavily influencing the city's socioeconomic situation.
37
Šimunić, Nikola, e Ivan Brlić. "Senjsko parobrodarstvo i socioekonomske prilike na prijelazu iz 19. u 20. stoljeće". Geoadria 19, n.º 1 (23 de junho de 2014): 101–28. http://dx.doi.org/10.15291/geoadria.40.
Texto completo da fonteResumo:
The authors of the paper examine the historical and geographical aspects of the emergence, development and decline of Senj’s steam-shipping as the crucial element of the overall social and economic progress of Senj at the turn of the 20th century. At the beginning of the 19th century, owing to the special city autonomy and the modern road connections, the Port of Senj was one of the most important maritime trading centres of the Croatian Littoral and the entire Adriatic in general, and its residents were important participants in social, economic and political turmoil of that time. Steam-shipping development has surely provided the residents of Senj a good market position in the times of demanding economic circumstances. The work also analyses important causes of weakening of Senj's economy, which during the period of the Kingdom of Yugoslavia isolated the city from the dominant maritime and economic processes, thus heavily influencing the city's socioeconomic situation.
38
Calvert, Isaac. "Sanctifying Security: Jewish Approaches to Religious Education in Jerusalem". Religions 10, n.º 1 (1 de janeiro de 2019): 23. http://dx.doi.org/10.3390/rel10010023.
Texto completo da fonteResumo:
While Schmitt’s Political Theology paints modern theories of the state as secularized theological concepts, prominent threads of Jewish religious education in 20th century Jerusalem have moved in a different direction, that is, toward the re-sacralization of such secularized theological concepts. Orthodox Jewish schools in Jerusalem, or yeshivot, take an orthopractic approach to religious education as informing all aspects of life, rather than a delimited set of doctrines or beliefs. As such, questions of security fall within the purview Jewish religious education. To look more closely at the relationship between orthodox Jewish religious education, sanctity and security, I spent seven months enrolled as a student-observer in three Jerusalem yeshivot taking daily field notes, conducting interviews, attending classes, and studying related sacred texts. By examining both Jewish sacred texts and ethnographic data from contemporary Jerusalem yeshivot, this article highlights how geo-political ideals of security in modern Jerusalem are being re-sacralized by contemporizing ancient sacred texts and approaching religious education itself as a means of eliciting divine aid in the securitization process for Jewish Jerusalem.
39
Hrabovskyj, Serhiy. "ANTY-COLONIAL DISCOURCE OF UKRAINIAN THINKERS OF THE LATE 19th AND THE FIRST THIRD OF 20th CENTURY". Almanac of Ukrainian Studies, n.º 22 (2017): 105–10. http://dx.doi.org/10.17721/2520-2626/2017.22.18.
Texto completo da fonteResumo:
The problems of colonialism and post-colonialism are very important for the modern world. Postcolonial studios are one of the key components of intellectual discourse. However, most of them have a serious flaw, namely the reduction of the topic to the collapse of colonial expansion and colonial exploitation to racial and geographical factors. These studios are about as colonizers view Europeans, and as oppressed peoples of the colonies view residents of other parts of the world. These researchers also do not pay attention to the fact that the Russian Empire had a colony at one time, not in America or Africa, but most of its colonies were in Asia. In addition, the Russian Empire had colonies in Europe: Finland, part of Poland, most of Ukraine, and so on. In turn, the German empire held in colonial condition the part of Poland that belonged to it. In Europe, therewere other colonies of other states. Therefore, at the end of the 19th and in the first third of the 20th century, the concept of "colony of the European type" appeared in socio-political thought. Ukrainian thinkers of this age (namely, Julian Bachinsky, Ivan Franko, Lesja Ukrainka Sergey Mazlakh and Vasyl Shahray, Mikhaylo Volobuev and others) by using certain methodologies investigated various aspects of the existence of such colonies, primarily of the case of Ukraine. Bachinsky puts the focus on purely economic factors that determine the colonial status of Ukraine, Franco – on national-political, Lesja Ukrainka – on existential, Mazlakh and Shahray – emphasized the aggregate of national, political and economic. At the same time, none of them took as the basis of the ethnolinguistic factor, like some Ukrainian researchers of colonialism do now. The article focuses on the ideas of Mikhaylo Volobuyev, which combine economic, political, socio-cultural and existential factors. Volobuyev, in addition, thoroughly criticized the substantial limitations of the racial-geographical approach to the problem of colonialism. Many of his ideas are relevant to modern challenges, others need rethinking in the context of the mutual struggle between different projects of globalization. Thus, in Ukraine at the end of the 19th century and in the first third of the 20th century there was a powerful intellectual direction of anti-colonial socio-political thought that did not reduce the problem of colonialism either to the racial factor, or to the geographical, or to the ethno-linguistic one. The author believes that such an integrated, multi-factor approach to the problems of colonialism and vision of overcoming the colonial heritage is the most urgent one. Therefore, it is expedient and necessary to appeal to the heritage of Ukrainian thinkers who turned to anti-colonial discourse.
40
Freake, Suzy K. "Through the Arendtian Lens: Developing Statelessness through Gregor Schneider's 'Weisse Folter'". Excursions Journal 1, n.º 1 (12 de setembro de 2019): 36–52. http://dx.doi.org/10.20919/exs.1.2010.125.
Texto completo da fonteResumo:
This article seeks to examine a productive intersection between contemporary artist Gregor Schneider and political/historical thinker Hannah Arendt. The purpose of such a task is to demonstrate the benefits of thinking beyond disciplines, whereby the application of political philosophy to an artwork affords a more nuanced art historical analysis, and, in turn, the reading of the contemporary artwork allows an updating and making relevant of historically embedded political philosophies.This article shall specifically explore Schneider’s 2007 work 'Weisse Folter', a large-scale, labyrinthine and institutional installation, by looking to Arendt’s conception of ‘statelessness’; a term indicative of certain people that were politically, legally and geographically displaced in the early 20th-century, resulting in populations unrepresented and unprotected by any governmental body. Although Arendt’s political inflection of the term is specifically rooted in historically determined data, 'Weisse Folter'’s various reference points (the practice of clean torture, the incarcerating spaces of Guantánamo Bay and the ‘ghost detainees’ held there) each contribute to the contemporising of her thinking. And yet, the term equally lends itself to art historical concerns, namely that of representation: the process of giving form or state to something. In looking at the representational, geopolitical and legal aspects of Weisse Folter, this article seeks to reinvigorate Arendt’s thoughts on ‘statelessness’ as contemporarily relevant, both for political thinking and art historical analyses.
41
Simsone, Bārbala. "Erotiskās prozas fenomens Latvijā un pasaulē". Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, n.º 26/1 (1 de março de 2021): 222–32. http://dx.doi.org/10.37384/aplkp.2021.26-1.222.
Texto completo da fonteResumo:
The present paper “The Phenomenon of Erotic Fiction in Latvian and World Literature” is devoted to the fiction genre acquiring immense popularity in Western literature while having attracted only fragmentary attention in Latvian literary scholarship, namely the erotic fiction, which is currently among those genres of literature most widely read among Latvian readers and therefore titled as somewhat phenomenal. The first part of the paper provides insight into the history of the erotic world literature and the most common division of the genre into the three basic categories; this part also provides a short overview of the erotic aspects in the Latvian original fiction during the 20th century. It has been possible to decide that the erotic prose has had only a limited representation in Latvian literature, mainly due to historical and socio-political factors, because the common tendency was to euphemise the said aspects, which were often met with an open reproach of the more Puritan part of the society. Erotic aspects in poetry and prose somewhat flourished during the epoch of Decadence (the first decade of the 20th century) and after that, only during the turn of the 20th/21st centuries when the prohibitions invoked by the Soviet censorship were lifted. Nevertheless, even during these periods, the more free approach resulted in only a few prose works of this kind or else episodes in works of other genres. The conclusive part of the paper is devoted to four novels by currently the most popular author of erotic romance in Latvian literature, Karīna Račko, inviting at the same time the discussion about the reasons for the popularity of these novels which might proceed from their common structural characteristics. It is possible to observe that the novel’s structures are notably similar to the basic plotlines of fairy-tales that the readers recognise on an archetypal level. Consequently, this makes it possible to view these novels as a sort of fairy-tales for modern grown-ups whose attraction is multiplied by the fact that the texts include specific aspects of visualisation that make it possible for the readers to identify closely with the characters.
42
Lee, Yeonkyung. "Taipei and Seoul’s Modern Urbanization under Japanese Colonial Rule: A Comparative Study from the Present-Day Context". Sustainability 12, n.º 11 (11 de junho de 2020): 4772. http://dx.doi.org/10.3390/su12114772.
Texto completo da fonteResumo:
Both Taipei and Seoul underwent a process of colonization and modern urbanization during the early part of the 20th century, under Japanese rule. In both countries, urban-planning projects from the colonial period have had a great impact on recent urban changes. This comparative analysis aims to identify the characteristics of modern cities with Japanese colonial histories, focusing on the following three aspects: (1) Urban structure based on spatial distribution by ethnic group; (2) Japanese colonial urban planning; and (3) modern boulevards that convey the power and spectacle of a colonial city. Taipei and Seoul have multi-cores because the Japanese and Taiwanese/Korean areas were not clearly separated spatially. Secondly, Japanese colonial urban planning was influenced by Japanese settlements and government facilities. Thirdly, the main boulevards in each city, created through modern urban planning, combine modern streetscapes with imperial spectacle. These boulevards took on an important political meaning after liberation. Comparative studies of Taipei and Seoul can illuminate the difference between modern cities with a Japanese colonial history and colonial cities under European rule. Such comparisons make it possible to analyze the meaning, value, and relevance of colonial remnants, including urban structure and artifacts, for each city’s sustainable future.
43
Philippov-Chekhov, Alexander О. "Peter Szondi about the crisis of drama". Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, n.º 1 (1 de março de 2020): 128–41. http://dx.doi.org/10.18522/2415-8852-2020-1-128-141.
Texto completo da fonteResumo:
“Theory of Modern Drama: 1880–1950” (1956), a book by Peter Szondi (Peter Szondi, 1929–1971), who was a German literary scholar, originally from Hungary, has not yet been translated into Russian. Meanwhile, without this study, it is impossible to imagine a European discourse on drama, theatrical practice and its concepts in the second half of the 20th century. Analyzing the changes in the poetics of drama, which were first carried out by Ibsen, Chekhov, Strindberg, Hauptmann, and then by experimenters like Pirandello, Piscator, or Brecht, Szondi traced how the “decay of the formative principle of drama” occurs. According to Szondi, these processes are associated with profound changes in the style of thinking, so he saw a close connection between the weakening of the dramatic element in drama and the “aperspectivism” of Cezanne or Schönberg’s atonal music. The excerpt presented below is part of Szondi’s translated book, published in 2020 by V – A – C Press, which specializes in literature on art, cultural philosophy, and contemporary art and political practice.
44
Stasiorczyk, Jacek. "Linguistic aspect of the formation of national identities in Lithuania in the late 19th and the first half of the 20th century". Język a Kultura 28 (5 de maio de 2021): 113–23. http://dx.doi.org/10.19195/1232-9657.28.9.
Texto completo da fonteResumo:
The issue of polonisation and the status of the Polish language has been the subject of intense interest in Lithuania to this day, not only in a cultural and historical context, but also in a political context, since Poles constitute the largest national minority there. This article is an attempt to describe the role of the linguistic aspect in the national transformations in Lithuania during the crucial period, i.e. the formation of modern national identities at the turn of the 19th century and their emancipation in the form of the politics of national states of the interwar period. The analysis includes a number of statistics on the presence of Lithuanian and Polish language in public space and their place in the context of a political, social and economic situation of Lithuanian territories. The creation of national states and the formation of linguistic and national processes from the top down by state administration were commonplace on both sides of the Lithuanian-Polish border. In Polish-Lithuanian relations it was the language that became the main hostage of the conflict and a kind of litmus paper for defining national identity, thus marginalising other aspects.
45
Kirillova, Natalia B. "Metamorphoses of Russian Mass Culture". Observatory of Culture 16, n.º 5 (4 de dezembro de 2019): 536–41. http://dx.doi.org/10.25281/2072-3156-2019-16-5-536-541.
Texto completo da fonteResumo:
The article is a review of the monograph “Russian Mass Culture: From Baroque to Post-Modernism” by Doctor of Philosophy, Professor of the Russian State University for the Humanities, Academician of the Russian Academy of Natural Sciences I.V. Kondakov. The book, which consists of seven chapters, is devoted to the history of the emergence and development of mass culture in Russia from ancient times to the beginning of the 20th century. Studying its origins dating back to antiquity, the author proves that Russian mass culture received an “impulse of independence” in the 17th century, as the culture was becoming personified, which means a personal principle was coming forward in it. It was during that period, associated with the emergence of Russian Baroque, that two paradigms appeared — Pre-Renaissance and Pre-Enlightenment, which led to the subsequent juxtaposition of “mass” and “elite” cultures in Russia first before Peter the Great and then after his period. The author gives an interesting assessment to the period of the Russian Enlightenment of the 18th century, when there happened a demarcation of the noble culture into liberal-democratic and conservative directions. Moreover, the former contributes to “massification”, and the latter – to “individualization” of Russian culture. The crisis of the classical paradigm in the 19th century, including the “literature-centrism” and “critical-centrism” of Russian culture, ultimately led to the formation of new artistic movements, new genres and styles, that is, to the modernization of Russian culture at the turn of the 19th—20th centuries. In this regard, the Silver Age turned out to be an “exquisite and ephemeral construction of the Russian Renaissance” in paradoxical forms of symbolism and modernism.The review reflected the structural and substantive aspects of I.V. Kondakov’s monograph, the features of his theoretical analysis, the specifics of style and language. The article evaluates the publication, reveals its uniqueness and scientific significance for modern humanitarian science, including history and cultural studies, literary criticism and philosophy, art criticism and aesthetics.
46
Häßler, Miriam. "Moscow Merz and Russian Rhythm". Experiment 23, n.º 1 (11 de outubro de 2017): 117–26. http://dx.doi.org/10.1163/2211730x-12341305.
Texto completo da fonteResumo:
Abstract The Erste Russische Kunstausstellung [First Russian Art Exhibition] of 1922 was a remarkable event not only for Berlin’s art lovers at that time, but also for the history of twentieth century art. Held at Galerie van Diemen, the show gave a comprehensive overview of Russia’s artistic achievements from late Tsardom to the Russian Civil War. Of all styles in the exhibition, the non-objective art movements of suprematism and constructivism provoked the greatest sensation among the visitors, many of whom were Western artists. Relating Russia’s variations of non-objectivity with their—assumed—political notions, Western modernists reacted in various ways. This article aims at tracking the long-lasting vestiges of the Erste Russische Kunstausstellung in the personal and artistic developments of two key-figures of Germany’s modern art scene: Kurt Schwitters and Hans Richter. While the role of El Lissitzky, who designed the catalogue’s cover, has already been canonized, this article wants to highlight lesser-regarded aspects.
47
Slezhenkov, Vladimir. "Semi-presidential (mixed) republic: historical roots and problematic aspects of terminology (experience of French politico-legal science)". Advances in Law Studies 7, n.º 4 (19 de dezembro de 2019): 16–20. http://dx.doi.org/10.29039/2409-5087-2019-7-4-16-20.
Texto completo da fonteResumo:
The article is devoted to the study of the features of the elaboration and introduction into scientific parlance of the concept of a semi-presidential republic (mixed government) by French scientists. In the introductory part of the work, the author noted the socio-historical and political-legal prerequisites for the development of relevant ideas, associated primarily with the affirmation of the specific constitutional regime of the Fifth Republic in France. In the main part of the study, the author highlights the discussion aspects of the concept and essence of the form of government under consideration, as well as the history of the emergence and development of related terminology through the prism of analysis of the work of leading French legal scholars from the 50s - 70s of the 20th century. According to the results of the work, it's identified the problems associated with a modern understanding of the essence of the studied form of government are identified, as well as the possibilities of updating the considered historical and theoretical legal experience to overcome them.
48
STROEVA, OLESYA V. "THE FATE OF DYSTOPIAS AND NEOLIBERAL VALUES IN MODERN SERIAL PRODUCTION". Art and Science of Television 16, n.º 4 (2020): 11–29. http://dx.doi.org/10.30628/1994-9529-2020-16.4-11-29.
Texto completo da fonteResumo:
The genre of dystopia is not among the most highly rated, since its character is usually critical and not entertaining. This is why the phenomenon of a growing number of dystopia remakes in the entertainment media industry is of scientific interest. Traditionally, dystopia was aimed at actualizing political problems related to the interaction between a state and a person. Apparently, contemporary totalitarianism is acquiring new features and is no longer a specific organization of state power in a particular country, but is associated with globalization, the development of macro-businesses and digitalization. Totalitarianism is being transformed from a political category to an economic one; consumerism in a society does the same in culture and art, which signs the French philosophers have been noticing since the second half of the 20th century. The question to be answered is whether the genre of dystopia in modern screen culture fulfills its function—critical evaluation of the modern totalitarianism. The research concerns an adaptation of F.K. Dick’s The Man in the High Castle. The analysis, however, is not cinematic, but cultural, as it is carried out in the context of the general socio-economic situation and the interpretation of the global digital macroeconomics as a possible manifestation of modern totalitarianism. In cultural analysis, a separate screen work becomes a manifestation of various tendencies, therefore, the study uses theoretical material from different areas such as existential philosophy of the twentieth century, Chinese philosophy, as well as sociopolitical criticism of the modern society. The methodology of reasoning in this context cannot be reduced only to the analysis of the film, but should be based on the principle of hermeneutic circles, since both the book and the series contain several semantic layers that must be correlated with the general cultural context. The author concludes that due to the economic and political pressure on the media industry, the processes of globalization and neoliberal “totalitarianism”, mass film products are frequently turning into certain clichés and ideological models, which is in itself a well-disguised dystopia.
49
Mohd. Shamsuddin, Salahuddin, e Siti Sara Binti Hj. Ahmad. "Art of the article and its technical characteristics in the modern age". Advances in Social Sciences Research Journal 7, n.º 2 (23 de fevereiro de 2020): 78–86. http://dx.doi.org/10.14738/assrj.72.7822.
Texto completo da fonteResumo:
Art of the article is one of the expressive arts. It has its own origins, features, and importance. Art of the article can be defined as one of the prose genera that appeared in the modern Arabic literature after its connection to European literature in the eighteenth century, when the art of the article appeared as a separate literary genre, in which the writers deal with the issues related to the aspects of their individual, social, political, religious, literary and scientific lives and environments, with the criticism and analysis. Development of the press helped to develop this literary genus. Some writers became popular and famous through this art, but many of them misused it and failed to build a bridge between them and their readers through this artistic circumstance, which has a limited size, in which the writer can put a specific topic not exceeded from a few pages, where the writer finds a complete freedom in choosing the topic, so that the article contains various topics, but the writer must avoid lengthening in explaining the dimensions of the subject of his article, as the author often deals with what is limited to a specific idea around which the whole article revolves, and tries to reveal and clarify all dimensions that relate to it briefly. We try to shed light on the art of article, its types and forms in terms of its technical characteristics, using the descriptive approach that is more suitable for such topics of the expressive arts.
50
Issers, Oxana S. "Dimensions of a “New Sincerity” in Modern Political Communication". Vestnik NSU. Series: History and Philology 19, n.º 6 (2020): 216–27. http://dx.doi.org/10.25205/1818-7919-2020-19-6-216-227.
Texto completo da fonteResumo:
Purpose. The purpose of the study is connected to the projection of the artistic concept of a “new sincerity” into the politics. Formed at the end of 20th century in art and literature the trend of the “new sincerity” is considered to be related to modern political discourse. The “new sincerity” is found in overcoming the destructive power of irony and the revival of time-tested universal values. Supporters of the “new sincerity” seek in their work to revive those values that leave people vulnerable to the outside world, but make them more humane following David Foster Wallace – an American ideologist and popularizer of this trend. The author of the article proceeds from the premise that the modern media environment is disposed to manifestations of the “new sincerity” and creates conditions for the penetration of this trend into the sphere of political communication. Results. The “new sincerity” in politics is understood as open positioning of politicians through self-identification and offer of the same open position to their addressees. Examples of this communicative trend in political discursive practices are presented by texts of different genres in the present study. Congratulation of the Ukrainian people on the New Year’s day by the President of Ukraine Vladimir Zelensky (2020) serves as the example of the destruction of the format of the New Year’s speech of the head of state on the basis of the “new sincerity” strategy. The pre-election leaflet of the Moscow politician and public figure Maxim Katz is analyzed as an example violating the genre standards of electoral campaigning. The effectiveness of the new way of communication with the voter was confirmed by the election results. The negative effects of the “new sincerity” in public discourse are illustrated by the frank statements of politicians, deputies, officials, destroying their image as elected representatives of the people. The flip side of the “new sincerity” is that the speed and viral nature of the information transfer in new media allow people to give high-profile representation to anyone to the fullest, but at the same time they are not only represented, but also “undressed”. Conclusion. The author believes that the trend of the “new political sincerity” is being formed in the modern media environment, where the seriousness of the conversation is combined with the confidence of intonation and the explication of the personal principle of the politician, and universal values prevail over state ideologies. On the other hand, modern communication technologies do not leave a chance to conceal information about the “unpredictable sincerity” of politicians and officials, which becomes objects of critical reflection in the new media reality.