Academic literature on the topic 'Balkan Aesthetics'
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Journal articles on the topic "Balkan Aesthetics"
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Drakopoulou, Eugenia. "The Itineraries of the Orthodox Painters in the Eighteenth Century: The Common Aesthetics in South-East Europe." Historical Review/La Revue Historique 5 (January 13, 2009): 21. http://dx.doi.org/10.12681/hr.219.
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<p>During the eighteenth century, the aesthetic preferences of the Orthodox Christian population in the Balkans continued to depend upon the tradition of Byzantine art, which had been the case throughout the period following the Fall of Constantinople. The painters were scattered all over the Balkans, where the Orthodox population had been accustomed since previous centuries to the tastes emanating from Byzantine artistic tradition. The Patriarchate of Constantinople and Mount Athos played a crucial role, on account of their religious and political status, in the movements of Orthodox painters, whose missions and apprenticeships they regulated to a considerable degree. The great number of paintings, the observation of the itineraries of Orthodox painters throughout the Balkan area of the Ottoman Empire and the shared aesthetic of these works supply evidence of the development of a common painting language among the Orthodox population of South-East Europe during the eighteenth century, just before the formation of the nation-states.</p>
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Szilágyi-Gál, Mihály. "The Aesthetics of the Public Space." East Central Europe 30, no. 2 (2003): 63–67. http://dx.doi.org/10.1163/187633003x00144.
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AbstractThese words of Victor Burgin serve as the motto of the first issue of the Review. In fact, the very same sentences can be taken as the motto also of this review of the Review. One of the authors in Idea's first issue, Boris Groys recalls Greenberg's words, that the avant-gard imitates art, and art imitates the world itself - the avant-gard imitates art because art is part of the world. Idea leaves the impression of a report of an avant-gard renaissance in the present art of the East-Central European and Balkan regions. It does not commit itself to any particular artistic current: its foci are the aesthetic phenomena of everyday life, and the concordant relationship between art and society.
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Teslya, Andrei. "“The Only Pictures in Memory of the Great War”: The Heroic Spirit, Orientalism, and the Problems of Representational Depictions of the Russo-Turkish War of 1877–1878." Sotsiologicheskoe Obozrenie / Russian Sociological Review 17, no. 3 (2018): 240–55. http://dx.doi.org/10.17323/1728-192x-2018-3-240-255.
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The Russo-Turkish War of 1877–1878 spawned a request from both the government and the public for an appropriate pictorial representation to be evaluated in the categories of ‘high art’, a request which revealed the inability of the predominant aesthetics to be satisfied. The paintings on the subjects of the preceding Balkan Crisis of 1875–1876 easily appealed to the existing reserve of descriptive means in primarily appealing to Orientalist motives by using the international Oriental-artistic language. In this case, painters such as K. Makovsky or V. Polenov did not need to resort to some inversions in the “Turkestan Series” by V. Vereshchagin: the developed artistic language allowed the conveying of the desired content without loss. On the contrary, attempts to present pictorial representations of the Russo-Turkish War found that the old military art was no longer perceived as genuine “art”. Thus, in not being regarded as a proper fixation of “memorable events”, the prevailing new aesthetics was unable to convey the pathos and heroics desired by the authorities. At the same time, it was found that a strong aesthetic effect in military plots was achieved through “seriality”, the interpretation of similar plots as isolated and independent. However, this did not produce a significant effect, that is to say, painting as such was not self-sufficient since it required the assistance of the text, the sequence of images, etc. The problem was reduced significantly with the new aesthetics of the 20th century, and in the last decades of the 19th century, in connection with mentioned above difficulties of painting, historical plots acquired new value, providing new opportunities for the representation of heroic themes while simultaneously giving greater aesthetic freedom.
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Soursos, Nathalie Patricia. "The Dictator's Photo Albums: Photography under the Metaxas Dictatorship." Journal of Modern European History 16, no. 4 (2018): 509–25. http://dx.doi.org/10.17104/1611-8944-2018-4-509.
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The Dictator's Photo Albums: Private and Public Photographs in the Metaxas-Dictatorship The Greek authoritarian «Fourth of August Regime» (1936–1941) focussed in its propaganda on promoting the dictator Ioannis Metaxas as father, grandfather and «First peasant» and while in foreign policy the close ties to the Balkan Entente was advertised, the transfer of ideas from the European fascist regimes was negated. By examining 57 photo albums preserved today in the Hellenic Parliament Archives the article discusses photo albums as a source for the interpretation of the Metaxas dictatorship and as a source for the history of photography in Greece. It examines the private photo album aesthetics and its use in three official brochures with an exceptional high amount of photographs: Fourth of August 1936–1938, Fourth of August 1938–1939 and Four Years of Government by I. Metaxas, 1936–1940. The article's main argument is, that due to their photo album aesthetic the propaganda brochures were invoking the intimacy of a family album.
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Milin, Melita. "Sounds of lament, melancholy and wilderness: The Zenithist revolt and music." Muzikologija, no. 5 (2005): 131–44. http://dx.doi.org/10.2298/muz0505131m.
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The aim of writing this article is to analyze how the articles published by Zenith magazine (1921-1926) reflected the role of modern music within the framework of Zenithism - a movement relating to Dadaism and Futurism. The founder of the movement Ljubomir Micic and the Croatian composer Josip Slavenski both settled in Serbia and shared similar views concerning the Zenithist role of art. They sought to create a novel artistic expression free from Western influence, rooted in primitive and intrinsic creative forces of Eastern, and more specifically, Balkan peoples. Nevertheless, the intellectual sophistication and radicalism of their ideas differed somewhat whereas Micic was inclined towards experiment and provocation (i.e. his announcement of a Balkan "Barbarogenius"), Slavenski's aim was to revise and transform the archaisms preserved in old layers of folk music (primarily that of the Balkans), thus yielding an original modernist language. When in 1924 Micic moved from Zagreb to Belgrade, Slavenski was already there, only to leave for Paris in winter of the same year and remain there until the following summer. This may explain Slavenski's single contribution to Zenith, a piece composed before he met Micic. Zenith's articles on music included a positive account of Prokofiev, whose works were seen as representative of the movement's intentions. The article was an abridged translation of Igor Glebov's (pseudonym of Boris Asafiev) text printed in V'esc (in German). Micic himself was the author of another contribution - a concert review, which served as an opportunity to express his views on contemporary music, one being an appraisal of Stravinsky whose music was felt to correspond to Zenithist aesthetics. He was labeled a musical 'Cubist', who composed music of 'paradox and simultaneity'. In the same article Antun Dobronic (a nationalist Croatian composer) was criticised on the basis that his music was not 'Balkanized' enough. Micic, who obviously had little or no musical education, was unable to find any musical critics who would adhere to his views. Several other articles in Zenith, such as concert reviews and literary texts with reference to both old and new composers, shed more light on the spirit of the movement and contribute to our understanding of it.
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Holobuț, Bianca. "Reinterpretations of the Shakespearean Universe In Terms of the Commedia Dell’Arte." Cercetări teatrale 2, no. 1 (2021): 93–117. http://dx.doi.org/10.46522/ct.2021.01.05.
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Through our study we will try to cast light on two distinct theatre laboratories, each with its own dominants, with its alchemy and, obviously, with its own alchemist (the director, the guide, the spiritual master). We will take a journey into two parallel stage universes: Carlo Boso’s lab, which I call the French Artistic Legion, and Muriel Manea’s workshop, which draws a dynamic relationship between the beauty and ugliness of the Balkan space. The two approaches are put in a ritual context, highlighted in the analysis of the stage process. Two different productions of the same text, A Midsummer Night’s Dream, by W. Shakespeare, with similar types of training and the requirement of an artistic discipline, while having the ability to give up dogma. Carlo Boso brings the masks of the commedia dell’arte in a stylistic and energetic agreement with Shakespeare›s universe, while Muriel Manea, using the aesthetics of beauty, but also of ugliness, builds an authentic world, preserving the essence of that created by Shakespeare.
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Darabus, Carmen. "Bizanțul în filtrul balcanic – poezie română din a doua jumătate a secolului XX / Byzantium in Balkanic filter – Romanian poetry in the second part of twentieth century." Swedish Journal of Romanian Studies 3, no. 1 (2020): 64–70. http://dx.doi.org/10.35824/sjrs.v3i1.20416.
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Talking about Balkanism in Romanian contemporary poetry means to betray, to a certain extent required by degradation or alteration, some literary themes and motifs. Finding ourselves in a geographical area of cultural contaminations, the influence of other peoples in Balkans comes naturally: the nostalgia of Byzantium perfection, continuous reporting at an ideal time, abstraction of the chronology. Balkan themes and motives in poetry are identifiable from the early writings of Romanian literature, including the folklore, with Anton Pann, the Vacarescu and Conachi poets – and their ludic descriptivism – , to Ion Barbu, who strikes a metaphysical note in the Balkan motifs, and later, in the second part of twentieth century, with the species of parody. The Romanian native receptivity allowed continuous assimilations without creating an unpleasant heterogeneous feeling. This openness has contributed decisively in a formative way to bring Byzantium on a new soil in a perfect and saturated array; the perfectibility is not possible anymore, so the failure was natural, in a degraded status – Constantinople. Oriental-Byzantine gravity becomes in Oriental-Balkan tragedy or comedy, balance slid to one extreme, sometime becoming ridiculous. Contemporary poetry does not express any more a true lament, but a kind of parody (in ludic poetry) or sheer contempt (in the solemn poetry). The Balkan intelligence is not critical, but creative, with the risk of perpetuating monstrous forms, beyond good and evil. Byzantium established itself through a double filter – for the East and for the West – influencing and being influenced, in turn. Romanian poetry has the full sequence of themes and aesthetic formulae, from tragic to comic, often switching rapidly from one edge to the other, taking into account the old Thracian solemn part, then the proud Byzantium and its absorption in Constantinople – all rolling in a series of formal expressions reflected in themes and vocabulary.
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Štiks, Igor. "Activist Aesthetics in the Post-Socialist Balkans." Third Text 34, no. 4-5 (2020): 461–79. http://dx.doi.org/10.1080/09528822.2020.1834735.
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Crnković, Gordana P. "Milcho Manchevski’s Before the Rain and the Ethics of Listening." Slavic Review 70, no. 1 (2011): 116–36. http://dx.doi.org/10.5612/slavicreview.70.1.0116.
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An artistic, popular, and critical success, the film Before the Rain (1994), written and directed by Macedonian-American Milcho Manchevski, has been the subject of much critical work largely dominated by issues related to the setting of the story (early 1990s Balkans) and also by the concepts of seeing, watching, and being watched, and the relation of all this with the Balkan discourses. Gordana P. Crnković argues for moving away from this framework in order to explore the film's aesthetic achievements operating in a different sphere, and specifically the film's creation of the practice of proper listening taken in a more philosophical sense envisioned by Martin Heidegger, Hans-Georg Gadamer, and Gemma Corradi Fiumara. Intertwining close readings of the film's scenes and especially the film's soundscape with these philosophers’ insights, Crnković shows how listening in this film grounds personal ethics and political acts, and how it relates to the spheres of childhood, nature, and one's own inner voice or daimon.
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Martazanov, Arsamak Magomedovich, Khanifa Magamedovna Martazanova, and Alena Mustafaevna Sarbasheva. "Folklore and literary continuum in the north caucasian novel of the late xx-th century in the aspect of ethnopedagogy." Eduweb 15, no. 2 (2021): 261–77. http://dx.doi.org/10.46502/issn.1856-7576/2021.15.02.20.
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The purpose of the work is to comprehend the folklore-literary continuum in the major epic works of national writers. The relevance of the research is due to the scientific and cognitive interest in folklore aesthetics, which determined the dynamics of the development of artistic thought. The novelty of the research is to study the specifics of the inseparable interaction of oral literature and literature within the chronological period of the 1960s-1990s. The main attention is projected on the novel prose of the classics of Ingush and Karachay-Balkar literature Idris Bazorkin (1910-1993) and Alim Teppeev (1937-2010), who made a significant contribution to the development of artistic and intellectual thought of the North Caucasus region. The creative nature of the connection of these aesthetic systems contributes to the philosophical understanding of the historical events recreated by the authors in the life of an ethnic group, the comprehension of national psychology. The appeal to the images of the Ingush and Karachay-Balkar Nart epos, folklore motives is due to the solution of the problems of the spiritual evolution of the literary hero in the context of time. The conducted research allowed us to conclude that the continuity of folklore and literature gives prose works a high aesthetic beginning, the factor of creative evolution contributes to the creation of a national picture of the world, the achievement of artistic expressiveness.
Dissertations / Theses on the topic "Balkan Aesthetics"
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Andersson, Elinor, and Gottschalk Barbro Thörnqvist. "Balans mellan estetiskt - praktiska och teoretiska ämnen i grundskolan : För optimal inlärning och utveckling av hjärnans alla resurser." Thesis, Umeå University, Department of Creative Studies, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-25567.
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Syftet med vårt examensarbete var att söka efter motiveringar som belyser de estetiskt - praktiska ämnens bidragande del för en allsidig utveckling av hela hjärnan. Vi ville undersöka rektorernas syn på balansen mellan teoretiska och estetiskt - praktiska ämnen, samt hur de ser på elevers kunskapsinlärning. Vi använde oss av litteraturstudier och enkätfrågor i vårt arbete. Vi har även följt mediadebatten för att kunna spegla samhällets syn på skolfrågor inom ämnet. En enkätundersökning genomfördes med rektorer i grundskolans senare del. Vi ville ta reda på rektorers uppfattning av en balanserad undervisning kontra kraven på godkänt betyg i svenska, engelska och matematik som ger behörighet till gymnasiet. Två tredjedelar av de tillfrågade rektorerna ansåg att deras skolor hade balans mellan teoretiska och estetiskt - praktiska ämnen, medan en tredjedel menade att det fanns en obalans. Alla tyckte att det var viktigt att skolan kunde erbjuda en balans mellan dessa ämnen. Lite mer än hälften av de tillfrågande tyckte att de var insatta i/visste något om hjärnans inlärningsprocess och minnesfunktion. Rektorerna ansåg att det fanns en statusskillnad mellan teoretiska och estetiskt - praktiska ämnen. Vad som också gick att utläsa från enkätresultatet var att rektorerna ser med oro på den skolpolitiska utvecklingen där kraven på mätbara kunskaper ökar på bekostnad av de estetiskt - praktiska ämnena.
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Lagurgue, Xavier. "La végétalisation verticale des bâtiments : vers une écoesthétique du vivant." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100045.
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Les « murs végétalisés » permettent, avec une très faible emprise au sol, de renforcer la végétalisation des milieux urbains. Ils contribuent, au même titre que les toitures végétalisées, à l’adaptation des villes au changement climatique, à la résorption des îlots de chaleur, à la lutte contre l’effondrement de la biodiversité. Il existe de nombreux types de murs végétalisés, des plus artificiels et des plus onéreux sur lesquels les végétaux poussent en hydroponie, quasiment sans substrat, aux plus spontanés qui se développent naturellement en dehors de toute intervention humaine, dans les joints des matériaux de construction. Cette thèse traite à la fois d’architecture et d’écologie dans la perspective d’une cohabitation avec la végétation sur les parties verticales des bâtiments. Alors que les pensées contemporaines de la nature renouvellent les rapports d’appartenance entre l’homme et son environnement, l’architecture tarde encore à s’engager dans cette voie. L’enjeu est d’étudier la capacité du bâti à accueillir sur ses surfaces extérieures une nature aussi autonome que possible, qui ne coûte rien ou peu et apporte à la ville de multiples services écologiques. La première partie dresse un état de l’art, un inventaire des moyens et techniques et une classification des figures architecturales des modalités de végétalisation verticale des bâtiments. La deuxième partie de la thèse est consacrée à trois études de terrain concernant les plantes rudérales, les balcons végétalisés, les murs végétalisés, ainsi qu’à la discussion des résultats. L’aboutissement ouvre l’hypothèse qu’humains et non-humains partagent une « écoesthétique du vivant » qui les relie dans un environnement commun et qui constitue une nouvelle perspective pour l’écologie architecturaleWith a very small footprint, “green walls” allow to reinforce the greening of urban areas. They contribute, in the same way as vegetated roofs, to the adaptation of cities to climate change, to the resorption of heat islands, to the fight against the collapse of biodiversity. There are many types of green walls, from the most artificial and the most expensive on which plants grow in hydroponics, almost without substrate, to the most spontaneous which develop naturally without any human intervention, in the joints of building materials. This thesis deals with both architecture and ecology in the perspective of cohabitation with vegetation on the vertical parts of buildings. While contemporary thoughts of nature renew the relationships of belonging between man and his environment, architecture is still slow to embark on this path. The aim is to study the capacity of the building to accommodate on its exterior surfaces a nature as autonomous as possible, which costs nothing or little, and provides the city with multiple ecological services. The first part presents a state of the art, an inventory of the means and techniques and a classification of the architectural figures of the methods of vertical vegetation of the buildings. The second part of the thesis is devoted to three field studies on ruderal plants, vegetated balconies, green walls, as well as to the discussion of the results. The outcome leads to the hypothesis that humans and non-humans share a «eco-aesthetics of the living» that connects them in a common environment and that constitutes a new perspective for architectural ecology
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Wheeler, Belinda. "At the center of American modernism Lola Ridge's politics, poetics, and publishing /." Connect to resource online, 2008. http://hdl.handle.net/1805/1683.
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Thesis (M.A.)--Indiana University, 2008.Title from screen (viewed on June 2, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Jane E. Schultz, Thomas F. Marvin. Includes vita. Includes bibliographical references (leaves 57-61).
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Crochu, Mariette. "L’Atelier du lied romantique : poétique de la ballade de la Goethezeit." Thesis, Rennes 2, 2020. http://www.theses.fr/2020REN20022.
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Lorsque l’on se penche sur les poèmes appelés ballades, objets d’une furieuse vogue dans le monde germanique depuis le Sturm und Drang, on se heurte partout à l’absence d’accord sur ce qui fait leur spécificité. C’est en partie dans cet espace poético-musical protéiforme qu’est forgé le lied romantique. Franz Schubert (1797-1828) passe ses premières années de compositeur à mettre en musique de longues ballades, et y revient jusqu’à la fin de sa vie ; Carl Loewe (1796-1869) passe maître de cet art. La ductilité du genre, sa résistance aux tentatives de définition sur le double terrain des lettres et de la musique (Sulzer 1771-1774, Koch 1802, Hegel 1818-1830, Häuser 1833…) mettent en péril sa propre pérennité, mais font aussi de lui un extraordinaire terrain d’expérimentation pour la lyrique musicale en effervescence. Il entre en résonance avec bien des enjeux de la musique du XIXe siècle, parmi lesquels la pratique orale des interprètes, récitants et chanteurs, la question de la narration musicale, et les passerelles entre musique de salon et scène lyrique, entre domaine vocal et domaine instrumental. Cette thèse souhaite contribuer à éclairer le devenir du Kunstlied à travers le prisme d’un de ses lieux privilégiés d’élaboration. Avec la ballade, cet étrange hybride de récit sans conteur identifiable, de drame sans scène et de musique, les dimensions du traditionnel Lied germanique s’élargissent jusqu’à l’émergence du Kunstlied ; mieux, elle fait d’entrée de jeu éclater l’unité émotionnelle de ce dernier. Notre recherche retrace ce parcours imprévisible et les questions qu’il soulève, pour mieux comprendre, non pas l’objet abouti que serait « le lied romantique », mais plutôt le passionnant travail de création artistique, le progressif modelage d’un objet musical, entre-deux des genres, dans ses multiples formes au fil du tempsWhen we look at the poems called ballads, which have been furiously popular in the Germanic world since the Sturm und Drang, we encounter a general lack of agreement on their specificity. The Romantic Lied was partly forged in this multifaceted poetic-musical space. Franz Schubert (1797-1828) spent his early composing years setting long ballads to music, and was to return to do so until the end of his life; Carl Loewe (1796-1869) became a master of this art. The ductility of the genre and its resistance to all attempts at defining it in the two fields of literature and music (Sulzer 1771-1774, Koch 1802, Hegel 1818-1830, Häuser 1833…) jeopardize its own durability, but also make it an extraordinary experimental field for the vibrant musical lyricism. It is in tune with many of the issues at stake in 19th-century music, including the vocal practice of performers, reciters and singers, the issue of musical narration, and the connections between salon music and lyric stage performance, between the vocal and instrumental realms. This dissertation attempts to shed light on the becoming of Kunstlied through the prism of one of its key development settings. The ballad, a strange hybrid of storytelling without an identifiable storyteller, of music and stageless drama, broadens the dimensions of the traditional German Lied until the emergence of Kunstlied; better still, it shatters the emotional unity of the latter from the outset. Our research retraces this unpredictable process and the questions it raises, in order to better understand not the accomplished object that would be “the romantic Lied”, but rather the exciting work of artistic creation, the progressive modelling of a musical object, between the genres, in its multiple expressions over time
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Valentová, Marie. "Srovnání práce fotografky Nan Goldin a dnešního uživatele Instagramu." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-435531.
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Contemporary constantly expanding content of social media like Instagram brings the medium of photography to new contexts. Photography becomes an instrument of immediate communication and its historically defined functions are an object of change. The continuity of Instagram content creating, the personal perspective of its users, the constant presence of camera accompanying them are aspects analogous to the artwork of Nan Goldin. Goldin's photo essay The Ballad of Sexual Dependency (1986)has a character of visual diary that captures the life of her community with almost obsessive continuity. It's also captured from deeply personal perspective depicting intimate moments and describing Goldin's personal relationships. Publishing of The Balladand formation of Instagram is divided by more than twenty-five years and both events and its meanings are profoundly different. This thesis nevertheless presumes that comparison of these, in many aspects alike phenomenons can help describe the change of the function of the media of photography, explore contemporary tendencies in photography aesthetics, the meaning of instagram's content to its users and provide general understanding of the role of shared photography in social and historical context. The methods of comparison are semiotic visual analysis,...
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Wheeler, Belinda. "AT THE CENTER OF AMERICAN MODERNISM: LOLA RIDGE’S POLITICS, POETICS, AND PUBLISHING." Thesis, 2008. http://hdl.handle.net/1805/1683.
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Indiana University-Purdue University Indianapolis (IUPUI)Although many of Lola Ridge's poems champion the causes of minorities and the disenfranchised, it is too easy to state that politics were the sole reason for her neglect. A simple look at well-known female poets who often wrote about social or political issues during Ridge's lifetime, such as Edna St. Vincent Millay and Muriel Rukeyser, weakens such a claim. Furthermore, Ridge's five books of poetry illustrate that many of her poems focused on themes beyond the political or social. The decisions by critics to focus on selections of Ridge's poems that do not display her ability to employ multiple aesthetics in her poetry have caused them to present her work one-dimensionally. Likewise, politically motivated critics often overlook aesthetic experiments that poets like Ridge employ in their poetry. Few poets during Ridge's time made use of such drastically varied styles, and because her work resists easy categorization (as either traditional or avant-garde), her poetry has largely gone unnoticed by modern scholars. Chapter two of my thesis focuses on a selection Ridge's social and political poems and highlights how Ridge's social poetry coupled with the multiple aesthetics she employed has played a part in her critical neglect. My findings will open up the discussion of Ridge's poetry and situate her work both politically and aesthetically, something no critic has yet attempted. Chapter three examines Ridge’s role as editor of Modern School, Others and Broom. Ridge's work for these magazines, particularly Others and Broom, places her at the center of American modernism. My examination of Ridge's social poetry and her role as editor for two leading literary magazines, in conjunction with her use of multiple aesthetics, will build a strong case for why her work deserves to be recovered.
Books on the topic "Balkan Aesthetics"
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Stardelov, Georgi. Balkanska estetika -- edna druga estetika. Makedonska akademija na naukite i umetnostite, 2004.
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Benary, Peter. Leise- aber deutlich: 100 Splitter und Balken zu Geschichte, Praxis und Theorie der Musik. Musikedition Nepomuk, 1994.
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Avangarda i politika: Istočnoevropska paradigma i rat na Balkanu. Beogradski krug, 2005.
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Papadimitriou, Lydia, and Ana Grgić, eds. Contemporary Balkan Cinema. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458436.001.0001.
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The first inclusive collection to examine post-2008 developments in Balkan cinema, this book brings together a number of international scholars working within and beyond the region to explore its industrial contexts and textual dimensions. Exploring both mainstream and arthouse cinemas, the authors identify patterns, trends and common characteristics in the subject matter and aesthetics of films produced and distributed since the global economic crisis. With a focus on transnational links, global networks and cross-cultural exchanges, the book addresses the role of national and supranational institutions as well as film festival networks in supporting film production, distribution and reception. Through critical and comprehensive profiles of the cinematic output in each Balkan country, and with an equal focus on smaller and underrepresented cinemas from Montenegro, Kosovo, North Macedonia and Albania, the collection argues for the continuing relevance of the concept of ‘Balkan cinema’. This study conceptualizes Contemporary Balkan Cinema as a hybrid, trans-national encounter that offers multifarious responses to political and social challenges in the region: gravitation and/or disillusionment toward the European Union; migration; political and social instability; and economic recession.
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Dejan, Ajdačić, ed. The Magical and aesthetic in the folklore of Balkan Slavs: Papers of international conference. Library Vuk Karadžić, 1994.
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Lawson-Peebles, Robert. The Beggar’s Legacy. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.24.
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This chapter traces the impact of the 1920 revival of The Beggar’s Opera on a wide variety of texts, ranging from Brecht and Weill’s Die Dreigroschenoper and Ayckbourn’s A Chorus of Disapproval, to BBC dramas of ordinary life, the early productions of Theatre Workshop, Charles Parker’s radio ballads, Osborne’s The Entertainer, and some television plays of Alan Plater and Dennis Potter. It suggests that Gay’s ballad opera, rooted in folk song, provided a model of articulated dramaturgy that raised questions about the nature of authenticity, and that could be adapted by differing media to disintegrate the conventional form of the musical. This open structure responded to the purposes of cultural politics, in particular the needs of a provincial, and sometimes working-class, aesthetic.
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Flaubert, Gustave. Sentimental Education. Edited by Patrick Coleman. Translated by Helen Constantine. Oxford University Press, 2016. http://dx.doi.org/10.1093/owc/9780199686636.001.0001.
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‘For certain men the stronger their desire, the less likely they are to act.’ With his first glimpse of Madame Arnoux, Frédéric Moreau is convinced he has found his romantic destiny, but when he pursues her to Paris the young student is unable to translate his passion into decisive action. He also finds himself distracted by the equally romantic appeal of political action in the turbulent years leading up to the revolution of 1848, and by the attractions of three other women, each of whom seeks to make him her own: a haughty society lady, a capricious courtesan, and an artless country girl. Flaubert offers a vivid and unsparing portrait of the young men of his generation, struggling to salvage something of their ideals in a city where corruption, consumerism, and a pervasive sense of disenchantment undermine all but the most compromised erotic, aesthetic, and social initiatives. Sentimental Education combines thoroughgoing irony with an impartial but unexpectedly intense sympathy in a novel whose realism competes with that of Balzac and whose innovations in narrative plot and perspective mark a turning-point in the development of literary modernism.
Book chapters on the topic "Balkan Aesthetics"
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Petek, Polona. "Slovenia: A Small National Cinema in the Phase of Transnational Synergy." In Contemporary Balkan Cinema. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474458436.003.0013.
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The chapter on Slovenia maps a profound transformation that started taking place in Slovenian cinema in the 2010s, namely the fact that both filmmaking and film culture at large have grown to become increasingly transnational and cosmopolitan. Through a discussion of the work of both established and emergent auteurs, the text identifies shared features and aesthetics. The chapter places emphasis on women as a prominent group on the rise not only among filmmakers, but also among decision-makers and educators. Aiming to present a broader picture of contemporary Slovenian film culture, the chapter also focuses on the country’s film festivals and the development of film education and scholarship.
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Ahmed, Omar. "Neo-realist Aesthetics." In Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0003.
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This chapter examines the neo-realist masterpiece Do Bigha Zamin (Two Acres of Land, 1953) directed by Bengali film-maker Bimal Roy. Prior to the emergence of a distinctive art cinema led by Satyajit Ray and Ritwik Ghatak, the aesthetics and ideologies of neo-realism as a distinctive cinematic approach were reflected sporadically in the socialist agenda of films such as Do Bigha Zamin. While Ghatak was busy filming his first film, Nagarik (The Citizen, 1952), and Ray was still struggling with the first part of The Apu Trilogy, it was Bimal Roy, a film-maker now considered part of populist cinema, who made the earliest attempt to integrate neo-realist aesthetics into the framework of a mainstream project. The chapter considers the state of Indian cinema before the emergence of neo-realism; the influence of the IPTA (Indian People's Theatre Association); Bimal Roy as a film-maker; and the wider context including the Bengal famine of 1943–44. It also looks at Balraj Sahni's status as one of Indian cinema's first method actors; the links to Italian neo-realist classics such as Bicycle Thieves (1948); and, finally, the various Marxist ideologies that underpin such a despairing narrative.
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Livesey, Ruth. "Dollie Radford and the Ethical Aesthetics of Fin-de-Siecle Poetry." In Socialism, Sex, and the Culture of Aestheticism in Britain, 1880-1914. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197263983.003.0006.
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This chapter uses the case of the poet, Socialist League member, and Fabian, Dollie Radford, to examine the relationship between socialism and fin-de-siècle aestheticism. After outlining Radford's conversion to socialism, the discussion examines her attempts to publish her work in the socialist journal Today. Radford's work from the 1880s forms a marked contrast with that of her widely published fellow Fabian E. Nesbit and the contrast highlights the oft-remarked ‘feminine’ lyricism of Radford's poetry. The chapter argues that, like Schreiner's Dreams, Radford's ‘A Ballad of Victory’, published in the Yellow Book, uses allegory to render political questions in an aesthetic register. The chapter concludes by comparing Radford's work from the 1890s with that of her fellow in the League, William Morris.
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Dousteyssier-Khoze, Catherine. "Contexts and Influences." In Claude Chabrol's Aesthetics of Opacity. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748692606.003.0002.
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This chapter seeks to contextualise Chabrol’s extensive filmography; reassess its place and significance in French Cinema; and shed light over key influences on Chabrol’s aesthetic. The detailed analysis of his first four films, Le Beau Serge, Les Cousins, A Double tour and Les Bonnes Femmes, helps to understand the formal inventiveness and diversity of his overlooked Nouvelle Vague palette whilst offering key insights into recurrent Chabrolean motifs: the gradual blurring or undermining of realistic / naturalistic modes of representation; expressionistic mise en scène; self-reflexive structures and theatricality; voyeurism; oppressive relationships and family dynamics. Whilst the influence of Lang, Hitchcock and Renoir on Chabrol is already well established, in this chapter Balzac’s pragmatic aesthetic is identified as pivotal: beyond the numerous diegetic references to Balzac, Chabrol draws on Balzac’s ‘mosaic’ approach in order to conceptualise his œuvre. It is argued that the Balzacian strategy of the recurrence of characters (see the recurring trio of Charles, Paul, Hélène) helps Chabrol to turn contemporary material into ‘myths’ and build his own dark Human Comedy.
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Bernes, Jasper. "Overflow." In The Work of Art in the Age of Deindustrialization. Stanford University Press, 2017. http://dx.doi.org/10.11126/stanford/9780804796415.003.0007.
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The Epilogue considers the possible fate of the artistic critique of labor in the decades to come. As demand for labor weakens because of ongoing structural transformations, the link between art and labor will likewise weaken, Bernes argues. Thus, artists would do well to revive older traditions linking the poet to wagelessness. The Epilogue examines these traditions, beginning with the Renaissance ballad and continuing through the Romantic poetry of vagrancy and the African American fugitive lyric, linking this poetic history to a theoretical investigation of what Karl Marx calls “surplus populations.” The long history of the poetics of wagelessness gives some indication of the aesthetic outlines of the coming era. In closing, Bernes looks at two contemporary poets, Fred Moten and Wendy Trevino, who engage this long tradition and mobilize it to meet the specific conditions of twenty-first-century capitalism.
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Brazil, Kevin. "Sequence, Series and Character in Children of Violence." In Doris Lessing and the Forming of History. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414432.003.0004.
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Explorations of selfhood have been central to Lessing’s work. Perhaps less recognized, however, is that this has been accompanied by an ongoing and highly self-conscious exploration of the function of literary character as a formal device. This chapter addresses this question by focusing on Lessing’s most sustained treatment of character: Martha Quest in the five novel Children of Violence (1952-69) series. Previous criticism has often read Martha autobiographically, but this chapter begins by analysing how Lessing situates her novel-series in relationship to the history of the form, from Balzac to Proust to Louis Aragon, and how her initial conception of character bears close comparison with Georg Lukács’s discussions of critical realism in the era of the Cold War and decolonization. Such questions are written into Children of Violence, in Martha’s own scenes of reading and inability to find a fictional representation of her life. The chapter closes by considering how Lessing manipulates the aesthetic requirements and tensions of the novel sequence to foreground the representational limitations imposed not just by realist theories of character, but by capitalism, colonialism, patriarchy, and the bourgeois family. These, in the end, provide the horizon beyond which Martha cannot pass – but which Lessing’s writing can.
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Lowe, Gill. "Woolf, Weeping Women, and the European mater dolorosa." In Virginia Woolf, Europe, and Peace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979374.003.0010.
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The gendered maxim ‘men must work and women must weep’ comes from Charles Kingsley's 1851 ballad 'The Three Fishers'. Virginia Woolf appropriated 'Women Must Weep' for early version of Three Guineas, serialised in The Atlantic Monthly (1938). This chapter argues that the public nature of Woolf’s polemical anti-fascist essay may, concurrently, be read as a more intimate document about personal grief and grievance. For Woolf her sister, Vanessa Bell, was the weeping woman, devastated by the tragic death in 1937 of Julian Bell in the Spanish Civil War. Duncan Grant drafted posters (reproduced here) to raise money for refugee Spanish children, employing the trope of mothers cradling babies. Woolf’s contemporary, the German artist Käthe Kollwitz, a mother bereaved twice by war, repeated the poignant pietà image in numerous anti-war pieces. Picasso, inspired by Dora Maar whom he regarded privately as ‘the weeping woman’, created sixty mater dolorosa works in preparation for his immense elegiac public work, ‘Guernica’ (1937). The chapter traces the powerful aesthetic of the sorrowful mother as a European anti-war figure. It concludes by considering how this iconography has been used cross-culturally and trans-historically. The pietà has been gender-flipped, adapted and plagiarised in war photography, murals, comic books, manga, fashion, film and video.
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West-Eberhard, Mary Jane. "Assessment." In Developmental Plasticity and Evolution. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780195122343.003.0030.
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A book on developmental plasticity needs a chapter on assessment, if only to show that adaptive environmental assessment occurs. Skepticism regarding the ability of nonhuman organisms to assess conditions well enough to make adaptive decisions has a long history in evolutionary biology, and it has been an important barrier to understanding the evolution of adaptive developmental plasticity. It is worth briefly reviewing this history in order to understand certain preconceptions about assessment that still persist. In the nineteenth century, critics of Darwin’s theory of sexual selection (Darwin, 1871) balked at the idea of an “aesthetic sense” in lowly creatures that would enable female choice of mates (representative papers are reprinted and discussed in Bajema, 1984). Later, the barrier persisted for other reasons. Even though naturalists routinely used the condition-appropriate expression of phenotypic traits to support adaptation hypotheses—a practice that assumes adaptive assessment of conditions as it is defined here—theoretically inclined biologists paid little attention to the question of facultatively expressed traits. Part of the difficulty lay in the problem of explaining how adaptive assessment could evolve within the framework of conventional genetics. Theodosius Dobzhansky, one of the twentieth century’s leading evolutionary biologists, acknowledged this unresolved problem in remarks following a lecture by J. S. Kennedy on the phase polyphenisms of migratory locusts (Kennedy, 1961). Dobzhansky referred to the “challenge to a geneticist” of explaining the adaptive switch between the sedentary and the migratory phenotypes of the locusts, which had been shown to be largely independent of genotype. He suggested that an extrachromosomal factor may be involved, a symbiotic microorganism that acts as a “plasmagene” whose multiplication would eventually stimulate phase change. Although Dobzhansky’s proposal was no more preposterous than some of the regulatory devices that have actually been discovered, Kennedy (1961) minced no words in his reply to this suggestion: . . . [W]e need not feel obliged to invoke a second organism to explain [phase polymorphism] unless we are reluctant to concede an important part to the environment as well as to heredity in moulding development. . . .
Conference papers on the topic "Balkan Aesthetics"
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Jovanovic-Popovic, Milica. "AESTHETICS IN VERNACULAR ARCHITECTURE: A COMPARATIVE ANALYSIS OF THE FORM OF VERNACULAR ARCHITECTURE IN THE BALKANS, AN AESTHETIC APPROACH." In 14th SGEM GeoConference on NANO, BIO AND GREEN � TECHNOLOGIES FOR A SUSTAINABLE FUTURE. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgem2014/b62/s27.057.
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