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Journal articles on the topic 'Art movements – 20th century'
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1
Kardum, Goran, Dubravka Kuščević, and Marija Brajčić. "The Impacts of Different Sorts of Art Education on Pupils’ Preference for 20th-Century Art Movements." Education Sciences 10, no. 1 (January 3, 2020): 15. http://dx.doi.org/10.3390/educsci10010015.
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The research presented here aims to determine how art education influences students’ preferences for the 20th-century art movements. An educational experiment that spanned through one school year was conducted on 200 primary school students. It included three types of intervention: observing works of art from the 20th century, introducing works of art using a puppet, and the students’ art activities/artwork based on the 20th-century art movements. The results show that the model of art education is an important factor in changing students’ preferences for the 20th century art movements. Students reacted positively to each kind of education, as evidenced in the wider acceptance of 20th-century art (abstract, fauvism, cubism, pop art, and surrealism). The type of education did not influence preferences (as much) when it came to classical art and visual works without artistic value. We concluded that puppets and independent creative work should be used more often in art education.
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Tailanga, Soranat. "Modernist Thai Short Stories, 1964–1973: The Relationship with Art." MANUSYA 11, no. 2 (2008): 125–41. http://dx.doi.org/10.1163/26659077-01102007.
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A number of distinguished Thai short stories from 1964 to 1973 reveal new and distinctive features in terms of subject, form, concepts and style. These features are similar to those of modernism, which was an international movement in literature and the arts that began in the late 19th century and continued into the early 20th century. The similarity suggests the direct and indirect influences of the modernist style upon Thai writers. Furthermore, the change in style of some of the short stories indicates a relationship with the art movements: impressionism, expressionism, cubism and surrealism, which were subsidiary art movements within modernism. These specific features of the Thai short story signify a radical break with the traditional writing of the time.
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Paz-Agras, Luz. "Creative processes in the Avant-Garde Movements." Estoa, no. 15 (2019): 21–30. http://dx.doi.org/10.18537/est.v008.n015.a02.
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The 20th Century Avant-Garde Movements broke with the traditional distinction of artistic disciplines in favour to an ambiguous space where limits are diffuse. Exhibition space played a relevant role in this sense as a laboratory where art object and spectator are together in interaction, getting to experiences that, in many cases, transcend from the exhibition to disciplinary Architecture. Through the analysis of the Proun Space of El Lissitzky, constructed in 1923, and some of the most relevant proposals of Neplasticist authors, focusing on the creative and experimental process, contributions from Painting to Architecture are established. Some of them, partially shaded by the hegemony of Modern Movement, have been incorporated to 20th Century architectural projects and they are a significant chapter about interdisciplinary creative processes.
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Goryunov, Vasiliy, Tatjana Konjkova, Vera Murgul, and Nikolay Vatin. "William Richard Lethaby – Architecture, Mysticism and Myth." Applied Mechanics and Materials 725-726 (January 2015): 1084–89. http://dx.doi.org/10.4028/www.scientific.net/amm.725-726.1084.
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This article deals with the art of a prominent English architect and architectural theorist - William Richard Lethaby. His theoretical outlook on architecture has been considered herein. His fundamental outlook – the book ‘Architecture, Mysticism, and Myth’ - has been analyzed. His innovative outlook, as well as the concept development regarding study of art in the 20th century described in this book, has been highlighted. The Lethaby’s relations with English movements ‘Art and Craft’ and ‘Aesthetic Movement’ have been indicated. Different outlooks on architecture supported by Lethaby and other leading theorists-rationalists in the mid-19th have been also distinguished.
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Rycroft, Simon. "Art and micro-cosmos: kinetic art and mid-20th-century cosmology." cultural geographies 19, no. 4 (August 16, 2012): 447–67. http://dx.doi.org/10.1177/1474474012447538.
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Recent work by cultural geographers on visual art has emphasized performative and participatory aspects focusing upon the embodied and multi-sensory experience of encountering and being part of a work of art. Research on non-figurative art has much to offer in elucidating the relationships and distinctions between representation, non-representation and abstraction. Non figurative artists were representing or enacting a new kind of materiality, one that was putative, in process and ever changing. That materiality was based upon the adoption of a mid-20th-century cosmology and inspired by recent advances in the understanding of matter and the universe. Kinetic art, which is characterized by a set of abstract aesthetics that represent or reproduce real or illusory movement, was, especially in the post-war period, inspired by this new cosmology. Mid-century kinetic artists created non-figurative abstract models of the latest understandings to bring their associated energies, forces and motions to the senses of the viewer-participant. The models that kinetic artists produced in a variety of media were designed to be experienced in an embodied manner rather than simply viewed. These and other models of a mid-century cosmology signify a period in which the practices of representation were shifting significantly and consequently demand our attention.
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Kim, Il-Su. "Kim Jin-man's Anti-Japanese Independence Movement." Institute of Korean Cultural Studies Yeungnam University 82 (December 31, 2022): 289–317. http://dx.doi.org/10.15186/ikc.2022.12.31.12.
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Kim Jin-man has been one of the representative literary painters of the 20th century who has established his art world through Sagunja painting and Gimyeongjeolji painting and influenced the flower bed for a long time since he had academic ability. In order to restore the independence of the Japanese colonial eran people and achieve national independence, he started the Reconstruction Achievement Friendship Association and the “Daegu Pistol Incident”. He was a representative anti-Japanese independence activist in Daegu in the 1910s who promoted the anti-Japanese independence movement. His anti-Japanese independence movement was inherited over three generations. Soon, he continued to his grandson Kim Il-sik, following his sons Kim Young-jo and Kim Young-ki. Through this, the Kim Jin-man family established the overall image of the three major independence movements. In addition, the three major independence movements of the Kim Jin-man family were consistent with the chang e in the route of the anti-Japanese independence movement in Japanese colonial era. The three major independence movements of the Kim Jin-man family have great implications for the direction that our society should view and predict even today in the 21st century.
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Lanszki, Anita. "On Body and Education." Tánc és Nevelés 2, no. 2 (October 13, 2021): 119–22. http://dx.doi.org/10.46819/tn.2.2.119-122.
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The history of the teaching of movements is a remarkable field in the history of education, the research paradigm of which also presupposes social and cultural-historical studies and accurate document analysis. The impressive volume published in 2021 and edited by Simonetta Polenghi, András Németh and Tomáš Kasper, provides a comprehensive overview of the educational trends from the turn of the century to the 1950s. The book’s authors present the trends in physical education and movement arts in the European countries of the era from exciting perspectives. The studies focus on how the public health, ideology, art, and pedagogical trends of the first half of the 20th century influenced educational policy aspirations for the physical and artistic development of the body.
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Zarembo, Liene. "ART DECO STYLE’S FEATURES IN THE TEXTILE WORKS OF DESIGNERS SONIA DELAUNAY AND PAUL POIRET." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 530. http://dx.doi.org/10.17770/sie2018vol1.3388.
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Art Deco is an artistic term that stands for an elegant eclectic design style dating back to the 1920s. Style has affected virtually all industries, including architecture, fine arts, applied arts, interior design, industrial design, fashion and jewellery, as well as painting, graphics and cinema. Art Deco architecture and arts expanded on other movements - Constructivism, Cubism, Modernism, Bauhaus, and Futurism. Principles of Constructivism and Cubism are also used in contemporary textile patchwork and quilt. The aim of the paper: exploration of the features of Art Deco style in the textile works of 20th century designers - Sonia Delaunay and Paul Poiret. The methods of the research: exploration of theoretical literature and Internet resources, the experience of reflection.The research emphasizes Sonja Delaunay’s particular importance of textile works in the development of contemporary quilt in the 21st century.
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Taranda, G. L. "Modern Dance As an American Alternative to Classical Ballet." Contemporary problems of social work 6, no. 4 (December 30, 2020): 45–51. http://dx.doi.org/10.17922/2412-5466-2020-6-4-45-51.
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the article analyzes the features of the American modern dance, which formed in the first half of the 20th century as an alternative to the classical ballet of the United States, which had Russian roots. In the article there were formulated both the artistic and aesthetic principles of modern dance and the historical and cultural prerequisites for the formation of the US national choreographic school. The work uses theoretical methods: visual and text analysis of choreographic works and music for performances, comparison of the means of plastic expressiveness, movements and figures of classical ballet and modern dance, the principles of stage development of artistic images of performances. The basis of the empirical study was a generalization of the practical experience of staging performances by leading American dancers of the 20th century. According to the results of the study, it is noted that the features of modern dance are opposite to the classical ballet of the United States, testify to the desire of Americans to illuminate the problems of modern time and convey the unique national features of US culture, using elements of African or Indian dances, as well as movements that are not characteristic of classical ballet, but reflect the spirit of our time. The materials of the article have theoretical and practical value for specialists dealing with the problems of culture and art of the 20th century, including modern choreography
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Kranjec, Alexander, and Martin Skov. "Visualizing Aesthetics Across Two Centuries." Empirical Studies of the Arts 39, no. 1 (February 13, 2020): 78–100. http://dx.doi.org/10.1177/0276237420905308.
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Empirical aesthetics is associated with two research questions: How the mind generally assigns value to sensory stimuli and how it responds specifically to art objects. Researchers have debated whether these phenomena share enough to warrant being collapsed into a single field. To ask how these particular questions came to be associated with aesthetics, we conducted Google Ngram analyses over a corpus of books spanning two centuries. Analyses trace the frequency of “big questions” about art and beauty, and how the term aesthetic appears relative to other concepts. Results indicate the 19th century was dominated by notions of beauty and an aesthetic sense. Questions about art and aesthetic experience become more frequent during the 20th century. Results are interpreted with respect to associated affective and evaluative concepts, art movements, and scientific debates. Understanding how aesthetics is used over time can cast light on the ways current work is being conceived and pursued.
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Stefanou, Maria-Ioanna, and Sophia Peloponnissiou-Vassilacos. "Angelos Katakouzenos (1902–1982): A Lifework of Neurology and Art." European Neurology 80, no. 3-4 (2018): 217–22. http://dx.doi.org/10.1159/000496352.
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Angelos Katakouzenos, a Greek neurologist and prolific medical writer at the beginning of the 20th century, belonged to a group of artists and scholars that formed the “generation of the 30s,” a cultural movement that emerged after World War I and introduced modernism in Greek art and literature. Born in 1902, Katakouzenos studied medicine in France at the Universities of Montpellier and Paris, where he trained in neurology and psychiatry under Georges Guillain, Henri Claude, Jean-Athanase Sicard, Pierre Marie, Clovis Vincent and Théophile Alajouanine. In Paris, he attended to Freud’s patients, collaborating with the psychoanalyst Marie Bonaparte, while he was introduced to the contemporary avant-garde movements of this time, developing long-lasting friendships with artists and intellectuals, including Marc Chagall and Tériade. Although Professor of Neurology and Psychiatry at the University of Paris, Commandeur of the Légion d’honneur and founder of the first neuropsychiatric clinics in Greece, Katakouzenos lived far from the limelight. Despite his numerous publications, his scientific work remained largely unacknowledged. Yet, as a psychoanalyst he gained international fame and treated patients including William Faulkner who later would write, “To the wise scientist, the in-depth judge of the human soul, my friend Dr. Katakouzenos, who has helped me like no one else to redeem myself from the tortuous questions that troubled me for years – from the depths of my heart, many, very many thanks”. In this paper, the rediscovery of Katakouzenos’s remarkable work in the field of neuroscience aims to tell the story of a great physician whose lifework in bridging art and science may, in retrospect, reinstate him as one of the most captivating neurologists of the 20th century.
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Halaby, Samia. "The Political Basis of Abstraction in the 20th Century As Explored by a Painter." Manazir Journal 1 (October 1, 2019): 94–110. http://dx.doi.org/10.36950/manazir.2019.1.1.7.
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The political nature of abstraction presented from an artist’s point of view – one who considers the most advanced task is the exploration of the language of pictures. Such exploration is understood as a separate discipline from the many others that employ pictures for practical functions. The author examines the development of 20th century abstraction as an effect of revolutionary social motion. Historic steps to abstraction, taking shape as rising and receding artistic movements, are correlated to revolutionary motion. The materialist underpinning of abstraction is distinguished from the idealism of Post-Modernism. The paper ends with an examination of contemporary discourse in the Western art world that attempts to erase the internationalism of abstraction and, thereby, marginalize non-Western practitioners.
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Dyadyk, Natalia. "Art of the second half of XX — early XXI centuries as visual philosophy." Socium i vlast 4 (2021): 95–106. http://dx.doi.org/10.22394/1996-0522-2021-1-95-106.
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Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehension of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20th century, then in this article we want to turn to the visual art of the second half of the 20th century — the beginning of the 21st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kossuth, the movement of “new realists” and photorealists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philosophical analysis of visual art of the second half of the 20th — early 21st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following general scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard contemporary art as a visual philosophy. Philosophizing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp being. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20th century — early 21st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and being in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.
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Kuhutiak, Mykola, Ihor Raikivskyi, and Oleh Yehreshii. "Halychyna. Journal of Regional Studies: Science, Culture, and Education. Twenty Years of Publishing Activity." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (October 30, 2017): 134–38. http://dx.doi.org/10.15330/jpnu.4.2.134-138.
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This is a review of the twenty-year-long publishing activity of Halychyna. Journal of Regional Studies: Science, Culture and Education, one of the first Ukrainian journals for historians, philologists, art critics that appeared in the independent Ukraine. In Halychyna, there has been published the works by well-known scholars of Vasyl Stefanyk Precarpathian National University and many other higher educational establishments of Ukraine. The Journal can boast an array of sections – archaeology, history, ethnology, political science, historiography, source studies, documents and materials, culturology, art criticism, historical biography studies, and others. Most of the studies published in Halychyna focus on the issues of the modern and contemporary history of Ukraine, ethnology. A special attention is given to the issues of the Ukrainian national liberation movement in the 20th century, the Ukrainian national revival in the 19th–20th century, the activity of the political parties in Galicia in the late 19th–early 20th century, source studies and historiography in Ukraine, historical regional studies, the problems of modern state formation in Ukraine, and others
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Skipp, Benjamin. "OUT OF PLACE IN THE 20TH CENTURY: THOUGHTS ON ARVO PÄRT'S TINTINNABULI STYLE." Tempo 63, no. 249 (July 2009): 2–11. http://dx.doi.org/10.1017/s0040298209000229.
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Of all recent art music styles, few have relied upon technological developments for their composition, performance and recording to the same degree as minimalism. In both the output of the principal composers of the more recent minimalist canon (namely in the objet trouvé works of Reich and Adams, the film scores by Glass and Nyman as well as through the reliance on electronic amplification common to them all) and in the counter-cultural movements characterized by music whose content is absolutely dependent on electronic media, repetitive styles have been transformed. The sophistication of these procedures has naturally resulted in a diminished sense of human labour within the compositional process and, at times, the total loss of a composer's authorial voice. The tintinnabuli music of Arvo Pärt stands out against the general tendency of such repetitive-based composers to harness the latest technology, to the extent that some commentators have baulked at the term ‘minimalist’ as an appropriate category. Robert Schwarz, for example, believes ‘neo-medievalist’ to capture something of Pärt's particular adoption of a supposedly pre-modern, non-technological attitude, while Josiah Fisk opts for the ‘new simplicity’ to describe (negatively) Pärt's monochromaticsm.
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Lucas, Scott C. "ABU BAKR IBN AL-MUNDHIR, AMPUTATION, AND THE ART OF IJTIHĀD." International Journal of Middle East Studies 39, no. 3 (August 2007): 351–68. http://dx.doi.org/10.1017/s002074380707050x.
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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.
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Demchenko, Alexander I. "The Art of Music in the 20th Century (Based on the Material of Choral Music)." IKONI / ICONI, no. 4 (2021): 142–58. http://dx.doi.org/10.33779/2658-4824.2021.4.142-158.
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The lectures on 20th century Russian music published in previous issues of our magazine were devoted to the work of such outstanding composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitri Shostakovich, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke. In the last of the published lectures brief sketches on the music of Sergei Slonimsky, Valery Gavrilin and Elena Gokhman were presented. Completing this cycle of lectures, we shall give a general overview of the art of music of the previous century, which is examined on the basis of choral music and in the successive evolutionary movement of three periods. The beginning of the 20th century (the period between the 1890s and the 1920s) was a time of both gradual and abrupt transition from classics to modernity. During these decades the classical arts went through a period of gradual fading. Modern art asserted itself in all sorts of forms of pivotal renewal of all aesthetic and technical foundations, which received its extreme expression in the phenomenon of avant-garde art. The middle of the century (from the 1930s to the 1950s) was in no small measure opposed to the attitudes of the beginning of the century. In this time period it was dominated by a desire for orderliness and balance, for clarity and intelligibility, to the extent that this was possible in the highly contradictory reality of the 20th century, which was accompanied by a clearing and enlightenment of the musical style, as well as a return to tradition. In turn, the second half of the century (from the 1960s to the 1980s) in many respects opposed itself to the previous period with the processes of rapid modernization of composers’ thinking, intense artistic exploration and unrestrained experimentation, which resulted in an extremely representative movement, which began to be called the second avant-garde (in contrast from the first or early avant-garde which emerged at the beginning of the century). A radical renewal of artistic matter found itself in the mass of all kinds of inventions and sound techniques.
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Stangret, Paweł. "Cytat teatralny w twórczości Tadeusza Kantora." Colloquia Litteraria 7, no. 2 (November 20, 2016): 35. http://dx.doi.org/10.21697/cl.2009.2.02.
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A Theatrical Quotation in Tadeusz Kantor’s Oeuvre In my text I focus on the problem of a theatrical quotation. Such form of referring to previous statements is traced at the example of Tadeusz Kantor’s Wedding in a Constructivist and Surrealistic Manner. This spectacle, carried out by a group of students from Scuola d’Arte Drammatica in Milan perfectly presents the subject in question. Its core lies in a practical realization of theoretical concepts which have been expounded within a month’s lectures. Kantor demonstrated how to quote a poetics of historical theatrical movements in a theatrical play. The first phase of a theatrical quotation has to be the fulfilment of a quoting element – in the case of Tadeusz Kantor’s Milan project the idea is to create one’s own contemporary constructivism and surrealism. The Cracow artist achieves it by using his artistic oeuvre and also his theoretical rumination on the influence of these trends on the whole art of the past century (during his lectures which culminated in The Wedding... Kantor used to say that in Scuola d’Arte Drammatica he made a summary of the 20th century). The second phase of the quoting process in the theatre is becoming an inherent part of a formerly created tradition, reconstructed according to its own theoretical concepts. Kantor, while preparing a spectacle “in a constructivist and surrealistic manner” and showing it as cricotage – that is his own works of art, not merely a didactic workshop performance, describes himself as an artist. He shows that these literary trends are the most important for his artistic output. Moreover, he uses these two movements since in his view they dominated 20th century thinking of art and aesthetics. Hence, while quoting constructivism and surrealism, Kantor shows that artists’ concepts taken from these trends are still significant because they work in a stage experience, the evidence of which is the spectacle staged in Milan school in 1986.
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Burnett, Henry. "Metaphysics, Language, Art and Science: Nietzschean Echoes, National Thoughts." Novos Estudos - CEBRAP 41, no. 1 (April 2022): 83–100. http://dx.doi.org/10.25091/s01013300202200010004.
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The homonymous research presented in this article will be developed on different fronts, interconnected from Nietzsche’s work and its reflections on Brazilian writers. It is about investigating apparently disconnected works that have ties of affinity and need to be understood not only based on what we call Nietzsche’s reception, but linked to a movement of revision and critical formation that has been built throughout the 20th century.
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Chernysheva, Anna Igorevna. "N. N. Zeddeler and A. P. Somova-Zeddeler: the forgotten names of early 20th century Russian art. Japonism in Russian printmaking at the beginning of 20th century." Secreta Artis 5, no. 1 (June 9, 2022): 6–23. http://dx.doi.org/10.51236/2618-7140-2022-5-1-6-23.
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The term japonism refers to a movement within 20th-century Russian art that has so far been insufficiently explored. In the meantime, its popularity at the turn of the 19th and 20th centuries coincided with the extraordinary blossoming of Russian color printmaking. N. N. Zeddeler and A. P. Somova were among those artists, who, along such revered masters like A. P. Ostroumova-Lebedeva and V. D. Falileeva, made a substantial contribution to the development of this art style. To date, their work has not received close attention from researchers. Likewise, there is no literature that would provide a systematic analysis of their legacy, save for brief mentions in the periodic press of that period or publications dedicated to exhibitions of 1900-1910s, in which the artists took part. N. N. Zeddeler and A. P. Somova-Zeddeler were well-known in the Russian and European artistic circles at the beginning of the century. Having acquired their education in Munich and Paris, they produced an oeuvre that fit perfectly into the context of early 20th century art and added essential touches to the aesthetic vision of the world emerging at that time. However, the work of these masters was not met with the appreciation it deserved and was eventually forgotten. It is worth noting that the task of mapping out the full biography of both artists appears to be extremely challenging due to a variety of reasons: their departure from artistic practice after the outbreak of the First World War, fragmentary and meager archival material, a small number of works that have survived till our time, the tragic and difficult fate of N. N. Zeddeler and A. P. Somova-Zeddeler… Thus, the purpose of the article is to fill in one of the gaps in the Russian history of art of the 20th century. The author examines the engravings by N. N. Zeddeler and A. P. Somova-Zeddeler from the collection of the Pushkin Museum created between 1900 and 1910, which were previously not studied by researchers.
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Zhao, Jialin, and Rainer Feldbacher. "Reflection of Sexual Morality in Literature and Art." Journal of Critical Studies in Language and Literature 1, no. 3 (August 21, 2020): 81–88. http://dx.doi.org/10.46809/jcsll.v1i3.32.
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Tocqueville, in his book “Democracy in America”, talked about the concept of sexual morality, introduced it into his newpolitical science, and reflected on the situation of social morality before and after the French Revolution with the help of hisinvestigation of American social morality. From the end of the 19th century to late 20th century, the development of sexualmorality in the US and France has undergone different changes. In France before and after the Revolution, sexual ethicsshowed a very different picture, from palace porn culture and pornography before the Revolution to revolutionary moralethics during the revolutionary period and to sexual ethics after the revolution. The US turned from the Puritans' sexualmorality in the early 18th century to the sexual liberation movement in the 19th and 20th centuries. From the historicalexperience of the US and France, we can see three basic forms of sexual morality: the state of greed, the state of politics, andthe state of holy love. The revolutions were not only initiating the construction of democracy, but also changed the definitionof its most basic figure that is the individual. This paper places sexual morality in the three dimensions of reality, politics andreligion. Taking The United States and France as examples, with the help of textual analysis and comparison, thedevelopment course, different forms and contemporary values of sexual morality will be explored.
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Van Bostelen, Luke. "Analyzing the Civil Rights Movement: The Significance of Nonviolent Protest, International Influences, the Media, and Pre-existing Organizations." Political Science Undergraduate Review 6, no. 1 (April 19, 2021): 53–61. http://dx.doi.org/10.29173/psur185.
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This essay is an analysis of the success of the mid-20th century civil rights movement in the United States. The civil rights movement was a seminal event in American history and resulted in several legislative victories, including the 1964 Civil Rights Act, and the 1965 Voting Rights Act. After a brief overview of segregation and Jim Crow laws in the southern U.S., I will argue that the success of the civil rights movement can be attributed to a combination of factors. One of these factors was the effective strategy of nonviolent protests, in which the American public witnessed the contrasting actions of peaceful protestors and violent local authorities. In addition, political opportunities also played a role in the movement’s success, as during the Cold War the U.S. federal government became increasingly concerned about their international image. Other reasons for the movement’s success include an increased access to television among the American public, and pre-existing black institutions and organizations. The civil rights movement left an important legacy and ensuing social movements have utilized similar framing techniques and strategies.
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Fawcett, Trevor. "The nineteenth-century art book: Content, Style and Context." Art Libraries Journal 17, no. 3 (1992): 12–17. http://dx.doi.org/10.1017/s0307472200007902.
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Although ‘art books’ of various kinds existed before 1800, art publishing grew significantly and with increasing speed through the 19th century. Two key factors, each encouraging the other, were the growth of interest in art among a heterogeneous public, and developments in printing technology, especially in methods of reproducing illustrations. Increasing numbers of illustrated art books contributed to the dissemination of awareness of an ever-broader spectrum of works of art, and of the decorative arts, throughout society, and nourished the historicism and eclecticism practised by contemporary artists and designers. The Romantic Movement’s cult of the individual artist prepared the way for the emergence of the artist’s monograph as a significant category of art book, made possible by the capacity to reproduce an artist’s works. The growth of art historical scholarship, informed by a new rigour, brought about the publishing of scholarly works incorporating documentary research, and of previously unpublished or newly-edited source material; art reference works, of several kinds, also multiplied. By 1900 art publishing had set all the precedents it would need until well into the second half of the 20th century.
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Orelli-Messerli, Barbara von. "The Crisis of Ornament: Evaluation and Intercultural Divergences in the Visual Arts of the 19th and Early 20th Centuries." Palíndromo 12, no. 27 (May 1, 2020): 011–33. http://dx.doi.org/10.5965/2175234612272020011.
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From the beginning of the 19th century up to the present, ornament has faced different crises because it is not an autonomous art but traditionally attached to a surface, be it architecture or applied arts. The fate of ornament has varied, according to leading theorists and critics in these fields. In 1812, Percier and Fontaine exhorted architects and artisans to use ornament with consciousness and care. Gottfried Semper could even conceive of applied arts without ornament, and his utmost concern was to show the original function of objects that they had lost over time. He wanted to clarify the purpose of an object, not only from a functional point of view, but also iconographically. Christopher Dresser, with a background as a biologist and ‘ornamentist’, was the first industrial designer to create objects without ornament, following the influence of Japanese art. The death knell apparently tolled for ornament in 1908 with Adolf Loos’ talk on Ornament and Crime. The subsequent opposition of Art Deco and Modernism was a clash of cultures, perceptible even nowadays among architects and art historians. At a certain point, as recent studies have pointed out, there was a merging of these two art movements. At present, ornament has made a comeback and been reintegrated into architecture in a new way and spirit.
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Rovner, Anton А. "The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”." ICONI, no. 2 (2019): 159–71. http://dx.doi.org/10.33779/2658-4824.2019.2.159-171.
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The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Roslavetz, Alexander Mosolov, Arthur Lourie, etc. Many premieres of these and other composers were performed at this festival, as well as well-known works by such early 20th century established masters as Arnold Schoenberg, Alexander von Zemlinsky, Igor Stravinsky, Bela Bartok, etc. Some of the leading contemporary composers of the late 20th and early 21st century were invited to participate in the festival, as were numerous outstanding performances, ensembles and orchestras up to the St. Petersburg Mariinsky Theater, artists, poets and writers. At the present time the artistic goal of the festival is to connect the strata of music by contemporary composers with the masterpieces of the great classics of the previous centuries — from the Renaissance era to the 19th century. Each year the festival has a certain particularthemes, such as, for instance, Italian music or Japanese music, around which the program is built endowed with a broad stylistic and genre-related pallette.
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Hansen, James T. "The Relevance of Postmodernism to Counselors and Counseling Practice." Journal of Mental Health Counseling 37, no. 4 (October 1, 2015): 355–63. http://dx.doi.org/10.17744/mehc.37.4.06.
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Postmodernism is a broad intellectual movement that has been changing the way people approach art, music, literature, politics, and philosophy since the late 20th century. This article addresses the impact of postmodern thinking on the practice of counseling and its relevance to counselors' approach to understanding clients and their world.
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B. Dhanalakshmi, S. Pavithra, D. Daniel Sebastian, K. Vishnu, and K. Swarna. "The Rise of Expressionism: When Literature Meets Art in History." International Journal of Research Publication and Reviews 04, no. 01 (2023): 846–48. http://dx.doi.org/10.55248/gengpi.2023.4127.
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Expressionism was a literary and artistic avant-garde movement that originated in Germany at the turn of the 20th century. The expressionist writers and artists wanted to create and bring to life their reality, as well as their inner idea or vision of what they saw. Their approach to their subject matter was more creative. They thought it was completely pointless to make just an imitation of the world. Expressionism could be seen as the revival and development of the Romantic tradition because of this attitude turning away from physical reality. The expressionist drama introduced a novel method of directing, designing scenes, and staging. This study highlighted the journey of literature in terms of sharing knowledge and amazed the audience with greater visualization. The study of art's evolution and stylistic shifts over time in art history. Western art history, or the progression of art from the Renaissance to modern art, is the primary topic of this page. Many writers shared their thoughts, the truth behind the artwork, and the social and economic condition of the artist in the racing time of the 20th century
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Melnik, N. D. "The Magazine “Zolotoe runo” (1906–1909) as a Reflection of the Artistic Life of Russia at the Beginning of the 20th Century." Vestnik NSU. Series: History and Philology 20, no. 6 (August 11, 2021): 62–73. http://dx.doi.org/10.25205/1818-7919-2021-20-6-62-73.
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Purpose. The article studies the history of the magazine “Zolotoe runo” (“Golden Fleece”) that has been publishing in Moscow from 1906 till 1909. It was a project of the young art lover, millionaire N. P. Ryabushinsky, who decided to continue the mission of “miriskusniki” (members of the “World of Art” movement) and promote the aesthetic principles of symbolism, which he saw as the most promising style of art at the beginning of the 20th century.Results. Based on the analysis of the memoirs written by contemporaries, correspondence between the representatives of the Russian cultural elite, publications in the periodical press, as well as outcomes of modern research, the author argues that the magazine “Zolotoe runo”, providing its pages to outstanding writers and publishing works of iconic artists and articles about their works, became one of the most influential periodicals about art in Russia.Conclusion. This research shows that, having said a new word in art and journalism, the magazine “Zolotoe runo” became a worthy reflection of the artistic life of Russia at the beginning of the 20th century.
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Streeck, Jürgen. "Depicting gestures." Gesture 9, no. 1 (June 11, 2009): 1–34. http://dx.doi.org/10.1075/gest.9.1.01str.
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In “Depicting by gestures” (Gesture, 8 (3)), I have explored the methods by which hand gestures depict the world. Here I explore how gestures themselves are depicted. Many paintings and sculptures show human bodies in motion or showcase traces of body movements, including gestures of the hand. The issue is how the artists succeeded in depicting or insinuating movement in media that are inherently still, and how such arrested gestures function in pictures of social life so that these are perceived as “legible interactions” (Gombrich). By scrutinizing the changing logic of representation of embodied communication in the visual arts, gesture researchers can gain insights into the relationships between movement, form, meaning, and context, and recontextualize their own analytic methodologies within the broader discourse in the humanities on human behavior and its interpretation (Streeck, 2003). In the following, I examine a number of characteristic attempts, made during different periods of Western art-history, to solve this problem: in Egyptian, Greek, and Hellenistic art; in some medieval illuminations; in the early and late Renaissance; and in the 20th century styles of “écriture automatique” and Abstract Expressionism. Each of the strategies involved is predicated on three types of analysis: of ways in which body motion communicates meaning, of visual perception, and of the nature of pictorial representation.
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Baigell, Matthew. "The Emersonian Presence in Abstract Expressionism." Prospects 15 (October 1990): 91–108. http://dx.doi.org/10.1017/s036123330000586x.
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In all of the literature on abstract expressionism, very little has been written about what I would call the Emersonian presence. It is a presence rather than a source or influence. And it is not limited to Emerson, since it can be found in such figures as Walt Whitman and William James, among others. But it is easier to say “an Emersonian presence” because precise influences are difficult, probably impossible, to establish. What I am concerned with is an attitude of mind that recurs in American intellectual history and that resonates through much 20th-century American art, ranging from early modernists such as John Marin through artists associated with process art. I do not mean to deny other welldocumented European and American sources, influences, and presences in abstract expressionism and other American movements, but only to call attention at this time to the Emersonian presence.
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Slepukhin, Victor V. "Soviet Architecture of the 1930-1950s." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 37–52. http://dx.doi.org/10.36340/2071-6818-2022-18-1-37-52.
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The article is devoted to the Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period. The author defines its place among such architectural styles and movements as Art Nouveau, Rationalism and Constructivism, as well as among foreign architectural movements of the middle of the 20th century. In aesthetic essence, the Stalinist Empire style was closely associated with Imperial Classicism. It was called upon to perform the functions of glorifying the power of the new young state. Stylistically, it inherited the Baroque, Napoleonic Empire style, late Classicism, Art Deco and Neo-Gothic; the details of these styles contributed to achieving a sense of luxury, pomposity and grandeur. The inner meaning of the new architectural theory and socialist realism, in general, was the comprehensibility of architecture to the masses: completeness, orderliness, monumentality. The architecture of the Stalinist Empire style, which to a certain extent contradicted the rather difficult situation of the country both in the pre-war and post-war periods, was called upon to convey the idea of striving for a bright future, embodied the architectural future that awaited people of the Soviet country.
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Tsoumas, Johannis. "Traditional Japanese pottery and its influence on the American mid 20th century ceramic art." Matèria. Revista internacional d'Art, no. 18-19 (September 16, 2021): 139–53. http://dx.doi.org/10.1344/materia2021.18-19.6.
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The Japanese ceramic tradition that was to emerge along with other forms of traditional crafts through the Mingei Movement during the interwar period, as a form of reaction to the barbaric and expansive industrialization that swept Japan from the late nineteenth century, brought to light the traditional, moral, philosophical, functional, technical and aesthetic values that had begun to eliminate. Great Japanese artists, art critics and ceramists, such as Soetsu Yanagi and Shōji Hamada, as well as the emblematic personality of the English potter Bernard Leach, after caring for the revival of Japanese pottery, believed that they should disseminate the philosophy of traditional Japanese pottery around the world and especially in the post-war U.S.A. where it found a significant response from great American potters and clay artists, but also from the educational system of the country. This article aims to focus precisely on the significant influence that postwar American ceramic art received from traditional Japanese pottery ideals. The author in order to document the reasons for this new order of things, will study and analyze the work of important American potters and ceramic artists of the time, and will highlight the social, philosophical and cultural context of the time in which the whole endeavor took place.
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Bragina, Natalia, and Vladislav Stepanov. "PHILOSOPHICAL INTERPRETATION OF SYMBOLISM OF ČIURLIONIS’ PAINTINGS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 25, 2018): 360–71. http://dx.doi.org/10.17770/sie2018vol1.3196.
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The art of M.-K. Čiurlionis is unique and at the same time emblematic of the culture of the art nouveau period. A deep connection of his art to Lithuanian folklore was combined with his fascination with European philosophical trends of the turn of the 19th - 20th centuries. The aim of this article is to identify the cross-cutting themes (leitmotifs) in the artist’s works and, with the help of this, to reveal the philosophical basis of his works. The methods of research are the study and analysis of both individual Čiurlionis’ paintings and his artistic production in general, as well as the analysis of the literature devoted to his works. As the result, two groups of leitmotifs were identified in the Čiurlionis’ paintings: a) figurative themes; and b) non-figurative themes (up to complete abstraction). Analysis of the meanings of these themes and of their influence on the content of the paintings shows that concrete figurative images (themes of kings, bird, hand, and castle) are associated with Lithuanian folklore. Semi-abstract and abstract images (chaos, glance, gesture, and beauty) reveal the connection between the art of Čiurlionis and European philosophy, from Plato's ideas to Nietzscheism and mystic-visionary movements of the early 20th century. Revealing the philosophical basis of his paintings makes it possible to simultaneously review the artist’s entire work in the context of culture of art nouveau, understand this culture more deeply, and thus get a better understanding of some important phenomena of our time.
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Harter, John-Henry. "Histories of Environmental Coalition Building in British Columbia." Labour / Le Travail 90 (November 25, 2022): 203–22. http://dx.doi.org/10.52975/llt.2022v90.008.
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On 3 February 1989, leaders of the British Columbia labour movement, members of the environmental movement, and representatives from the Nuu-chah-nulth-aht Tribal Council (ntc) gathered to meet at Tin Wis, the ntc meeting space, in Tofino, BC, to discuss an alliance around environmental issues on the West Coast of Vancouver Island. This article takes this meeting, and subsequent alliance, as a way to explore the impact, potential, and contested meanings of alliances forged among workers, environmentalists, and First Nations in British Columbia in the late 20th century and beyond. In this way, the article examines from a historical perspective what sociologists have framed as the period of new social movements.
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Plakhotnyuk, Oleksandr. "PERCEPTION OF THE WORLD OF JAZZ DANCE IN THE ARTISTIC SPACE OF THE 20TH CENTURY." Baltic Journal of Legal and Social Sciences, no. 2 (October 26, 2022): 157–62. http://dx.doi.org/10.30525/2592-8813-2022-2-26.
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In the provisions of the scientific article, the author substantiates the worldview and philosophical perception of jazz dance in the cultural and artistic space of the historical period of the 20th century – early 21st century in the context of the development of modern choreographic art. As a result of the study, an expansion of ideas about the philosophy of choreographic art is formed, which is reflected in the formation of the perception of modern dance in modern science. Also, in defining the worldview of jazz dance in the artistic space, which manifests itself at all stages of its development and becomes relevant in the art criticism discourse of the late 20th - early 21st centuries, it is a logical conclusion that jazz dance has a meaningful philosophical content and tries to give answers to eternal questions. , as well as everyday problems: how not to lose everything, and if this happened, then restore strength, and restore yourself anew, how to find love, and when found, how not to get rid of it, solve all the problems of a domestic nature and the spiritual life of everyone person. Jazz dance has always been a mirror image of a person's existence, his worldview and manifestation of will, striving for originality and revealing his own individuality. The dance movement of jazz dance is always a hymn in honor of human life in its manifestations and depths of all aspects of human existence, which is clearly manifested in the dance art. One of the main philosophical properties of jazz dance is the ability to quickly and thoroughly respond to all socio-political and historical processes of society development. Reflection of cataclysms, crises and pertrubation of economic development filigree reflects the tragedy of wars and emotions, its completion from victory to defeat. It is constantly developing, forming new samples, directions and whole self-sufficient types and directions of modern dance art.
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Łyszcz, Kazimierz M. "The Bauhaus Frame Reliability and Loosening." Philosophical Discourses 2 (2020): 107–21. http://dx.doi.org/10.16926/pd.2020.02.07.
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The paper presents the problem of the frame, a clearly prevalent pattern in the selected activities of Bauhaus representatives. Despite only a dozen years of its existence, the school of modern architecture and design had a significant impact on the 20th-century world of art, and its social context, aesthetic and functions. In spite of its utilitarianist approach, it has developed a variety of standpoints that resulted in debates over the limits of art and have evolved into a wide range of creative movements that became a permanent feature of the art world. The essence of artistic activity evolved in this formation in two seemingly contradictory directions – towards a radical consolidation of the visual form, which is devoid of any decorations, and its gradual opening to the space surrounding the artistic and design activity. The first direction led to strengthening the integrity of the work and its materiality, while the second led to interference with the environment and the disappearance of the outline of the form. The diverse involvements and relations between these attitudes created different understandings of the frame encompassing the works.
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Åžener, Fatma, and Meltem Erdogan. "Neo-Geo and Fashion Interaction." New Trends and Issues Proceedings on Humanities and Social Sciences 2, no. 1 (February 19, 2016): 595–601. http://dx.doi.org/10.18844/prosoc.v2i1.909.
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Neo-geo, which appeared as an abstract and modern art movement towards the end of 20th century, has had its impact in 21st century as well. New geometry painting perception known as neo-geo is the works where materials and geometric forms are used in any environment. The effects of geometric forms are observed in fashion as in architecture and painting. Fashion designers are the people with an open perception who are able to manage to develop their artistic experience and knowledge using the current time and their abilities in a correct way. The purpose of the current study was to investigate the new geometry as an abstract and modern art movement and fashion interaction and determine its effect on fashion. In this research, the related literature was reviewed and the collections of the fashion designers who were impressed by this art movement was examined and some samples were given. Due to the fact that the art movement of neo-geo appeared towards late 1980s, clothing styles of 80s and its relation with the fashion in those days were given.Keywords: Fashion, neo-geo (new geometry), art.Â
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Kharitonova, Natalya Stepanovna. "Interaction of Artistic Culture of Russia and Scandinavian Countries at the turn of the 19th-20th Centuries." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 97–104. http://dx.doi.org/10.17816/vgik7297-104.
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The author examines similarity of historical and cultural development of Russia and Scandinavian countries. Cultural ties between the two domains evolved over many centuries. The most intensive period of development of Russian-Scandinavian artistic contacts stretched from mid-1880s-1890s up to the end of the first decade of the 20th century. In 1890s Russian painters considered achievements of Scandinavian colleagues as an example of a quest for progress, a creative approach to finding ones way in development of fine arts. At the same period in Russia a number of major international art exhibitions were arranged with active northern painters participation. The Russian interest in the art of Scandinavian countries in the late 19th - early 20th c. was anything but accidental. The development of artistic culture in Nordic countries was in tune with the Russian artists quest for other ways of creative expression. Northern culture attracted sympathy of Russian painters, black-and-white artists and art critics of diverse, often opposing groups and movements. For example, among the admirers of Scandinavian fine arts were V.V. Stasov and A.N. Benoit, I.E. Repin, V.A. Serov, F.A.Malyavin, the artists of the "Mir iskusstva group, and representatives of Moscow School of Painting (K. Korovin, A. Arkhipov, V. Perepletchikov etc.). By mid-1890s relations of Russian and Scandinavian art schools had become very intense and productive. This interaction coincided with significant events that influenced further development of artistic and other forms of culture on both sides. It manifested itself in publications of works of A. Strinberg and K. Hamsun in Russian, in staging of H. Ibsens plays at the Moscow Art Theater, exhibitions (especially of A.Tsorns works), and other activities that served to cross-fertilisation of cultures of Russia and Scandinavian countries.
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Getashvili, Nina V. "The Mediterranean as a Context and Concept in the Art of Modernism." Scientific and analytical journal Burganov House. The space of culture 18, no. 3 (June 10, 2022): 52–63. http://dx.doi.org/10.36340/2071-6818-2022-18-3-52-63.
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The “imperious presence” of the region (Fernand Braudel’s words about the Mediterranean from the preface in his work The Mediterranean Sea and the Mediterranean World in the Age of Philip) has been clearly seen in the art of European modernist artists since the beginning of the 20th century. Braudel created his work not only following the methodology of the Annales school but also in the context of the pan-European historiosophical interest of his contemporaries, including artists, in the "region". However, in artists and writers’ understanding, it was Friedrich Nietzsche who marked the initial milestone, the special, significant role of the "Mediterranean" for the European culture of the 20th century. The main plots and names of the first direction, Fauvism, which appeared in the 20th century, with its attacking energy of primary colours, saturated with Mediterranean impressions made under the influence of Picasso's experiments with form, and shown in Daniel Kahnweiler’s gallery in 1908, caused a mocking name - cubism, serving as a starting point for this glorious art direction. Not only the corners of the northern coast but also the Maghreb countries impressed European artists with the "special" light of the Mediterranean. Also, through the prism of understanding, the article examines the role of the Mediterranean in the "call to order" movement and in the context of the antinomy of Nordicism and Greco-Latin civilisation. Examples from the works of representatives of Fauvism (Braque, Derain, Matisse), cubism, Maillol, Picasso, de Chirico, Dali, Klee are given, confirming this postulate. Many artists have chosen the Mediterranean coast as their home for many years, which is reflected in their creative work. Examples that make it possible to assert that the theme of the Mediterranean is firmly rooted in the semantic and formal concepts of modernism are provided. Reflected in works of art, they, in turn, become part of the overall picture of cultural syncretism in the unique environment of the region.
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Decheva, Violeta. "The Theatre of Bauhaus." Sledva : Journal for University Culture, no. 40 (April 7, 2020): 26–31. http://dx.doi.org/10.33919/sledva.20.40.6.
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How Bauhaus movement informs not only modern architecture but also modern theatre, dance, art, music, the structure of the stage, the idea of the space, etc.? The ‘theatre of Bauhaus’ is not a clear system of ideas shared by all the participants in the movement. On the contrary, there are many internal conflicts. But we could speak of concepts that were developed and became influential through Bauhaus, especially after the ‘branding’ of the movement in the US in the second half of 20th century.
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Frătean, Denisa-Maria. "Influenţe Secession În Lirica Blagiană." Lucian Blaga Yearbook 20, no. 1 (June 1, 2019): 126–35. http://dx.doi.org/10.2478/clb-2019-0013.
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AbstractSecession Influences in Blaga’s Poetry (Influențe Secession în lirica blagiană) – This essay analyses the impact of the years spent in Vienna on the formation of Lucian Blaga, taking into consideration the fact that, at the end of the 19th century and the beginning of the 20th century, the capital of the Empire was the centre of an impressive art movement called the "Vienna Secession". The aim of this paper is to identify the similarities that can be established between the art of the painter Gustav Klimt, a representative figure for that period and the president of Secession, and the poetry of Blaga. The comparison includes the symbols to be found in the works of the two artists, such as the spring flowers and the serpents, the dominant colours, the type of lines used in the creation of their images and the reaction of people to their modern art.
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Mikhailova, Yu Yu. "The Society of Dilettanti and its impact on the spread of art knowledge in 18th century England." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 163–67. http://dx.doi.org/10.30725/2619-0303-2020-4-163-167.
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Discussions about dilettantes, virtuosos and antiquaries of the 18th century were based on the modern understanding of such professions as a historian, archaeologist, art critic. As many British historians have shown, traits associated with professionals in these areas of the 19th and 20th centuries were usually absent in the 16th and 17th centuries. To regard the dilettantes and virtuosos of the eighteenth century as amateurs is an anachronism. These people were for the most part well-educated, dedicated to the study and collecting of art. Along with a narrow view of this movement, it should be noted that dilettantes represented a certain social stratum in high English society, which had a significant impact on the process of mutual influence of science and education. Contemporaries believed that art played a vital role in the improvement of society, and amateurs had an important influence on the dissemination of knowledge.
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Fitzthum, Elena. "Transfer processes from reform movements to music therapy at the beginning of the 20th century." Nordic Journal of Music Therapy 25, sup1 (May 30, 2016): 23. http://dx.doi.org/10.1080/08098131.2016.1179905.
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Rodríguez González, Alberto. "El Corno Emplumado y la vanguardia en el umbral de la nueva era." Sincronía XXV, no. 80 (July 3, 2021): 383–416. http://dx.doi.org/10.32870/sincronia.axxv.n80.18b21.
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This article analyzes the case of the Mexican magazine El Corno Emplumado and its role as an avant-garde publication based on Renato Poggioli's idea of avant-garde movement and the notions of epoch threshold and aesthetics of threshold formulated by Hans Robert Jauss and Luciana del Gizzo, respectively. The intention is to examine the way in which the magazine edited by Margaret Randall and Sergio Mondragón updates the utopian impulse of the avant-gardes based on their vision that social change at the beginning of the 60s of the 20th century would come thanks to renewal spirituality that only art and poetry could provide. Additionally, it investigates the way in which the magazine reconfigures the avantgarde myth of the new beginning from its postulate of the advent of a new era, the era of the man of air. All this in order to discuss the possibility of thinking about the presence of an avant-garde continuity in Mexican literature throughout the 20th century.
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Hvarkata, Zdravka. "VАRIABILITY, APHORISTIC PHRASE AND PLAYING AS AESTHETIC AND STRUCTURE-FORMING PRINCIPLES IN "MOVEMENTS FOR 13 STRINGS INSTRUMENTS" BY SIMEON PIRONKOV." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1817–22. http://dx.doi.org/10.35120/kij31061817h.
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The composition “Movements for 13 string instruments” was completed in 1967 and belongs to the group of works by Simeon Pironkov whose titles include the word “music” – “Night music”, which is written the year before, “Ballet music in memory of Igor Stravinsky”, created at the beginning of the ‘70s of the last century, and “Music for two pianos and orchestra”. The external connection is the genre uncertainty of their names, which is equally characteristic of the notion “movements” which emphasizes the continuity of the musical process over time without suggesting a connection to a particular genre. At the same time, unlike the three “music”-s, the plural form used in the title – “movements” – draws attention to the plurality of the musical impulses that make up the whole musical thought. The strength of the 13 string instruments indicates the belonging of the work to the chamber orchestral music and fits it into the objective European tendency towards chamberhood, which was established in the first decades of the twentieth century. Listeners are unexpectedly involved in “Movements for 13 string instruments” to hear about eight minutes 37 of micro-episodes – movements that resemble fast-moving movie frames or short theatrical scenes – before the colorful kaleidoscope of parallel-moving melodic lines, clusters, peculiar rhythmic formulas and characteristic strokes to be abruptly cut off by the “guillotine of the four-bars final” (according to the exact expression of the musicologist Rosalia Bix). The versatility of the used vehicles of expression and the masterful handing of them are important prerequisites for the artistic impact of the work, recreating with a laconic expression part of the ever flowing life stream in the form of a series of changing movements. At the same time, it is also a way of the composers playing with its own creation, an expression of the typical for the 20th century tendency for the art to entertain with its means. In any case, “Movements for 13 string instruments” express the youthful spirit of their creator, because, according to the extremely inventive maxim of the theater producer Nicolay Georgiev, “man has stopped playing not because he is old but he is old because he has stopped playing”.
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Cavlovic, Melita, Mojca Smode-Cvitanovic, and Andrej Uchytil. "Art nouveau in Zagreb: The new movement's significance to the profession of architecture." Spatium, no. 44 (2020): 37–44. http://dx.doi.org/10.2298/spat2044037c.
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This paper traces the implications of Semper's Bekleidung theory on working processes in the field of architecture in Zagreb. The idiosyncrasies of the work of freshly graduated architects in a peripheral Austro-Hungarian city are analysed, both in the context of developing and spreading the city block system and the appearance of the new Art Nouveau style. Buildings in this new modern style, which appeared in 1897, were built sporadically throughout the city's urban fabric, which generally consisted of historicist residential buildings at the time. Parallel to historicism, the demand for Art Nouveau from clients grew, especially around the turn of the 20th century. At the time, typical migration processes resulted in the arrival of a well-educated populace that would commission Art Nouveau buildings in the coming years. The unique characteristics of Art Nouveau style, especially its ability to directly engage citizens and transmit messages of modern times, proved to be an important determinant in its increasing popularity in the city. Many professions and products were advertised on the fa?ades and ornamentation of buildings, the main bearers of Art Nouveau style.
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Khalifa-Gueta, Sharon. "The Goddess, Daenerys Targaryen and Me Too Values." Acta Universitatis Sapientiae, Film and Media Studies 22, no. 1 (November 1, 2022): 139–61. http://dx.doi.org/10.2478/ausfm-2022-0016.
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Abstract In this article the author interprets the image of Daenerys Targaryen from the HBO television series, Game of Thrones (2011–19) as an allegory for the Me Too movement and as a symbolic depiction of the concepts of women regaining their power. She follows the connection between the emerging visualization of Daenerys with the tiny dragons and ancient depictions of Goddesses and dragons, and connects this motif to feminist scholars who researched the revival of feminine language in the 1970s and the 1980s of the 20th century. The article also suggests that the nudity of women depicted in fantastic art, particularly in images with women and dragons, are not necessarily titillating but representative of the early feminist stage of women seeking a symbolic power figure. The author also contrasts Daenerys’s visualization with those images, suggesting how she demonstrates the evolution of the motif in light of the changing focal points of feminist movements. Daenerys’s image, she suggests, reflects one of the central issues of the Me Too phenomenon – considering the female body as a sanctuary, which even if exposed and suggestive, is dangerous and forbidden to touch.
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Navetnaya, Anna P. "The Traditional and the Innovative in the Dramaturgy and Composition of Béla Bartók’s Ballets." Observatory of Culture 17, no. 6 (February 10, 2021): 626–37. http://dx.doi.org/10.25281/2072-3156-2020-17-6-626-637.
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This article investigates the development of the 20th century ballet genre on the example of the Hungarian composer Béla Bartók (1881—1945). The study aims to reveal the features of B. Bartók’s ballets in the context of trends in Western European art of the 20th century and to show the composer’s innovative techniques. The article identifies specific musical formative means that reflect the genre definition of “pantomime”, and emphasizes his innovation. The early 20th century ballet art is an extremely bright phenomenon associated with the active search for new ways of developing the genre, which took place at the turn of the 19th and 20th centuries. Classical ballet, which had reached its peak in the works of the Russian ballet school and the works of M. Petipa, was suddenly recognized as outdated and unviable. The new generation of choreographers sought to refute, to a certain extent, the genre’s old laws. The idea of searching for new means of expression became the leading one, and the canon of classical choreography was replaced by pantomime and a new unusual dance technique, which later became known as modern dance. B. Bartók’s ballets “The Wooden Prince” (1917) and “The Miraculous Mandarin” (1919) are examples of the new type of ballet performance of the early 20th century. The article shows that the composer focused on creating a symphonic score corresponding to the ideas of pantomime. His appeal to this had been primarily dictated by the librettos themselves, in which B. Balázs and M. Lengyel had defined the work character in this way. Naturally, the rejection of classical ballet’s traditional forms influenced the works’ compositional features. The article demonstrates that the scores of “The Wooden Prince” and “The Miraculous Mandarin” are distinguished by a new approach to the musical structure, in which the principles of instrumental forms play a significant role. At the same time, each of the ballets expresses the dialectical pair of “canon and heuristic” in its own way: “The Wooden Prince” retains to a certain extent the flair of classical ballet; in “The Miraculous Mandarin”, this genre pattern is violated almost ostentatiously. In this work, B. Bartók’s appeal to such an anti-classical subject reflects the era’s new trends associated with the artistic movement of expressionism. In the Hungarian composer’s ballets, the dualism of the traditional and the innovative gives rise to a different type of ballet score itself.
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Krevel, Mojca. "Scouting the Desert of the Real: Avant-Gardism of the Avant-Pop." ELOPE: English Language Overseas Perspectives and Enquiries 7, no. 1 (May 17, 2010): 61–72. http://dx.doi.org/10.4312/elope.7.1.61-72.
Full textAbstract:
The paper examines the legacy of the European historical Avant-Gardes from the perspective of the shift of paradigms immanent in the formation of the Postmodern epoch. The existing theories generally regard the Avant-Gardes as an unsuccessful attempt to redefine the function of art in the social, cultural and economic environment of the early 20th century. Examining the productivity and relevance of the historical Avant-Gardes from the perspective of the Avant-Pop, the first thoroughly Postmodern literary movement, I intend to show how the strategies of fragmentation and the breaking of organicity not only quintessentially defined the manner in which Modernity and its art came to an end, but how they also provided the basis forthe formation of culture and art that no longer functions according to Cartesian principles.
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Huralna, Svitlana. "Restoration of the Roman Catholic Church Music Traditions of Galicia (From the Nineteenth Century)." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 2 (December 22, 2022): 185–98. http://dx.doi.org/10.31866/2616-7581.5.2.2022.269678.
Full textAbstract:
The purpose of the research is to highlight the prerequisites and conditions for the development of organ and singing performances of Roman Catholics in Galicia at the intersection of the nineteenth and twentieth centuries, which influenced the current state of church music development. Research methodology. Based on the principles of objectivity and impartiality, the prerequisites for the development of Roman Catholic music in Galicia since the nineteenth century are considered. The comparative-historical method is used to draw chronological parallels of introducing the Roman Catholic rite to Ukrainian and Polish lands. The structural-functional method was used in the consideration of the process of liturgical performance traditions’ renewal of Roman Catholic music, which began in the nineteenth century and appeared in Galicia due to close interaction with the countries of Western Europe. The influence of the Caecilian and Bernardine movements on sacred art is noted. The historical and retrospective method was used to recreate the historical and social problems of the development of spiritual art in the 19th-20th century. The local and Western European resolutions of the 20th century and several official documents that influenced the renewal of church performance were emphasized. The socio-cultural method was used to indicate the influence of organ schools of the leading musical and educational centers in Lviv, Krakow, Tarnow, and Przemyśl on the improvement of the professional competence of performers. The cultural method was used to cover several artistic and spiritual events with the participation of secular and spiritual groups, thanks to which previously unknown composers have been introduced into scientific circulation. The scientific novelty of the research is that the article highlights the historical and cultural poly-confessional specifics of different ethnic groups' coexistence in the little-studied Galicia. The state of liturgical practice in the Roman Catholic rite is presented, the reasons for the emergence of the Caecilian movement in Europe and its influence on Roman Catholic church singing traditions in Galicia are illuminated, and the importance of official documents of the RCC is emphasized. Some vocal and choral educational institutions and schools for organists in Lviv, Krakow, Przemyśl, and Tarnów were mentioned. Attention is drawn to the intensification of the organization of musical life in the region and the emergence of publishing houses that contributed to the rapid reform of Roman Catholic liturgical performance since the nineteenth century. Conclusions. As a result, it was noted that the church music of the Roman Catholic rite of Galicia in the twentieth century underwent significant updates, returning to Gregorian chant and the canons of polyphonic liturgical music, and the improvement of the level of organ and singing performance led to the study of relevant subjects in modern universities.