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Journal articles on the topic 'Early works to 1900'
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1
Girling, Anna. "“Comedy of Errors”: The Correspondence between Edith Wharton and John Murray in the National Library of Scotland." Edith Wharton Review 32, no. 1-2 (November 1, 2016): 61–79. http://dx.doi.org/10.5325/editwharrevi.32.1-2.61.
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Abstract John Murray was effectively Edith Wharton's first British publisher, bringing out three of her works between 1900 and 1902: The Touchstone (1900) (in Britain, A Gift from the Grave), Crucial Instances (1901), and The Valley of Decision (1902). The correspondence between Wharton and Murray, until recently unknown to Wharton scholars, sheds light on the composition of, and Wharton's stated intentions for, the texts in question, as well as on her early professional evolution. This article places this correspondence in the context of Wharton's early career, and examines some of the correspondence between Wharton and Murray in detail (that concerning The Valley of Decision, in particular).
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Shumskoy, Andrey. "Kantianism in the Early Works of N. Berdyaev (1900–1910)." Logos et Praxis, no. 2 (October 2022): 25–32. http://dx.doi.org/10.15688/lp.jvolsu.2022.2.3.
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The article analyzes the influence of Kantian philosophy on the formation and philosophical work of Nikolai Berdyaev from 1900 to 1910. The attitude of the Russian philosopher to the basic ideas of I. Kant was critical from the very beginning. Nikolai Berdyaev directed his main criticism of kantianism in his first serious book against Kantian dualism, the existence of an absolute transcendent principle. Kantianism was for Berdyaev the most important philosophical experience, thanks to which he moved at the beginning of his creative path from critical marxism to idealism. During the period of turning to idealism, he came to the idea that transcendental consciousness immanently contains a religious attitude to the world. Kant's ethical postulates have not lost their fundamental significance for him. However, he associated the fundamental shortcoming of Kant's philosophy with the absence of a teleological approach to reality. Striving for metaphysical realism, Nikolai Berdyaev very soon overcomes the ethical normative idealism that was so characteristic of his early work. Without staying long within the framework of idealistic philosophy, Berdyaev subsequently made the transition to mystical religious realism. The critical philosophy that Kant represented, according to Berdyaev, absolutized the role of rational knowledge and closed access to true transcendental reality, narrowed being by the boundaries of the phenomenal world. He saw the way out of the grip of Kantian rationalism in expanding the framework of transcendental reason to the metaphysical or supra-rational. It was in mystical cognition that Berdyaev saw the only true way of cognizing reality. The Russian philosopher built his epistemology on the fundamental idea that being is closed and transcendent to thinking or rationalized consciousness, and it becomes immanent only to primary, integral and living consciousness, which has access to transcendent metaphysical experience.
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Voytekunas, V. A. "Early Italian Art in the Works of Nicholas Roerich (1900s‐1910s)." Art & Culture Studies, no. 3 (October 2021): 148–81. http://dx.doi.org/10.51678/2226-0072-2021-3-148-181.
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In the works created by Nicholas Roerich in the 1900s –1910s various cultural influences were synthesized. These were conditioned by the consistent pattern of the development of Russian art as well as by the individual preferences of the artist. The artistic heritage of old Italy became one of the strongest influences on Roerich and was interpreted by him in a particular way. The article examines the factors that determined Roerich’s interest in Italian art of the Middle Ages and the Early Re-r naissance and analyzes the experience of his trips to Italy in 1901 and 1906. The study of the style and methods of old masters significantly enriched Roerich’s means of expression and helped to establish his mature style.
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Bodin, Helena. "Konstantinopel kring 1900 som litterär värld." Tidskrift för litteraturvetenskap 48, no. 1-2 (January 1, 2018): 47–59. http://dx.doi.org/10.54797/tfl.v48i1-2.7609.
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Constantinople around 1900 as a Literary World. A Cultural Semiotic Analysis of Scandinavian Examples
Constantinople, today’s Istanbul, was in the early 20th century a multiethnic, multireligious, and multilingual city with a diversity of writing systems. It was also an important and influential hub for international trade and politics, for Europe and the Western world. This essay is part of the research programme World Literatures. Cosmopolitan and Vernacular Dynamics, at Stockholm University. It aims to demonstrate how the vernacular (the local) depends on and interacts with the cosmopolitan in literary works on Constantinople during the decades around 1900, with a focus on Scandinavian languages and nationalities. For analysis and discussion I have chosen one poem in Danish by J. P. Jacobsen (1870), and travelogues and short prose texts in Swedish by Birger Mörner (1906) and Stéphanie Beyel (1919), and in Norwegian by Knut Hamsun (1903; 1905). Yuri M. Lotman’s concept of the semiosphere is used in combination with Eric Hayot’s study On Literary Worlds (2012) in order to explore the worldmaking capaci ty of the selected literary works – that is, how literary worlds are created as immanent aspects of literature. It is demonstrated that the literary world of Constantinople cannot be defined as either peripheral within a Western semiosphere or central within the Ottoman semiosphere. Rather, the city functions in these literary works as a threshold between East and West, or as the multilingual, intermediating and ambivalent border between the semiospheres, characterised by its simultaneously separating and uniting features. Unexpected connections between the vernacular elements of the cosmopolitan city are established. The literary world of Constantinople is not only portrayed in the languages of Scandinavian readers; their languages are also a part of the Constantinopolitan multilingual mix.
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BUDNYI, Vasyl. "BOHDAN LEPKY`S LITERARY CRITICISM IN “SLOVANSKÝ PŘEHLED” JOURNALLITERARY CRITICISM IN “SLOVANSKÝ PŘEHLED” JOURNAL." Problems of slavonic studies, no. 68 (2019): 162–74. http://dx.doi.org/10.30970/sls.2019.68.3077.
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Abstract Background: A famous literary critic and writer, representative of the “Moloda Muza” group, B. Lepky was published in numerous Ukrainian and foreign journals in the early twentieth century. Today, his cooperation with Polish and German editions has been partially explored, but the Czech direction remains almost unclear. There are only individual references to B. Lepky's cultural publications in the “Slovanský přehled” journal in the works of V. Doroshenko, V. Lev, B. Rubchak. Purpose: The purpose of the study is to analyze the interpretative bases of B. Lepky's publications in “Slovanský přehled”, namely, five annual reviews of Ukrainian literature (1901, 1902, 1903, 1905, 1906) and three cultural pieces of knowledge: about the composer M. Lysenko, about the translation of short stories by M. Kotsiubynsky into Polish, and the scientific works of M. Hrushevsky, B. Barvinsky and V. Shchurat. Results: B. Lepky followed I. Franko in editing “Slovanský přehled” journal. I. Franko prepared the ground for the Czechs to familiarize them with Ukrainian literature. In a series of annual reviews, B. Lepky considered Ukrainian literature in the pan-European context, translating the realities of national culture into the language of universal cultural concepts. Not contradicting realism and modernism, the critic appraised the high artistic value of the works by Lesya Ukrainka, V. Stefanyk, M. Kotsyubynsky, O. Kobylyanska, which were marked by modern stylistic trends. Trying to convey the original content to the foreign reader, B. Lepky approached his critical speech to the poetic one, painting it with impressionistic strokes and symbolic imagery. The author concluded that the importance of B. Lepky’s Czech publications was important for understanding the ways in which Ukrainian writing was modernized and contextualized in Slavic and pan-European culture in the early twentieth century. Key words: Modernism period, literary process, critical writing, literary review, review, contextualization, impressionism, symbolism.
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Tsydene, Shirap Ts. "Проблема вероисповедания бурят в трудах Ц. Ж. Жамцарано (1900-е гг.)." Монголоведение (Монгол судлал) 13, no. 3 (December 30, 2021): 496–503. http://dx.doi.org/10.22162/2500-1523-2021-3-496-503.
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The article aims to analyze the issue of Buryat religious views as discussed in the works of Ts. Zhamtsarano in the 1900s. The purpose of the study is to identify the specifics of Zhamtsarano’s approach in the formulation of the research issue. In particular, the article analyzes the impact of his scientific and social activities on the course of his creative thought, as well as compares his interpretation of Buryat religious movement with that of M. N. Bogdanov, one of outstanding researchers of Buryat history. To analyze the impact of his cultural-historical environment on Zhamtsarano’s views, it was necessary to examine the scholar’s diaries he kept at the time of his ethnographic expeditions in Buryatia in 1903–1906 in comparison with his published works of the same period. As a result, it was possible to identify his key positions on the issue of the Buryat religious movement in the early twentieth century. Conclusions. The analysis of Zhamtsarano’s works shows that the Buryat religious movement had a long history, with its ethnoterritorial features gradually being formed. The reason for its acceleration in the 1900s was that many Buryats at the time were largely dissatisfied with their dominant religion, hence their search for new forms of spirituality. According to Zhamtsarano, the general direction of this movement was towards cultural pan-mongolism; this conclusion was based on his own active involvement in the activities for the Buryat cultural renaissance. Also, the scholar saw the religious movement of the Buryats in the 1900s as part of the global trend for secularization of the enlightenment.
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Kudryavtseva, Tamara V. "Early Works of A.M. Gorky: Translations, Publications, Interpretations." Studia Litterarum 6, no. 3 (2021): 116–33. http://dx.doi.org/10.22455/2500-4247-2021-6-3-116-133.
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Within the framework of comparative, contextual, and receptive analysis, this article examines the specificity of the early Gorky’s German reception (1900–1910). The article is an attempt to explain Gorky’s rapid entry into the Germanophone cultural space taking into consideration the problematics of Gorky’s early work and its specific implementation on the one hand and the specificity of the literary process in Germany in these years on the other. The article also takes into account editorial policies and practices as well as the overall political and literary orientation of the press and publishers. Some examples show the impact of Gorky’s work on the literary practice of German writers (R. Huch, G. Hauptmann, F. Wolf, etc.). The article reveals typical patterns of reception when German writers, translators, literary critics and, researchers of that time turn to Gorky’s work.
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Franklin, Peter. "Missing Love-scenes, Evasion, and the Inexpressible in Early Mahler." 19th-Century Music 47, no. 3 (2024): 192–208. http://dx.doi.org/10.1525/ncm.2024.47.3.192.
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Given the openness to ideas about sexuality, not least in music, in post-Wagnerian turn-of-the-century Vienna, Mahler’s outwardly rather guarded and seemingly conservative approach to sexual experience is examined in the light of more recent biographical research (as in the German edition of Mahler’s letters to Anna von Mildenburg). Discussion focuses upon a reconsidered approach to the evidence of his first two extended musical works: Das klagende Lied (a copy of whose score he gifted to von Mildenburg at the end of their relationship and to Alma Schindler at the beginning of theirs) and the First Symphony. Aspects of the critical reception of both works—presented in Vienna for the first time by Mahler, in reverse order, in 1900 and 1901—revealed the disapproval of more conservative commentators and their implicitly anti-Semitic interpretation of the works’ questionable audience appeal in terms of a kind of mass-culture critique. The link between the evasion of or indulgence in musical representations of sexuality and changing attitudes toward musical taste and reception might heighten our awareness of how the complex modernity of those works was tending in a quite different direction to that of the nascent modernism of Mahler’s younger contemporaries.
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Yaxun, Li. "Chinese musical art in the early 20th century (1900s – 1930s)." OOO "Zhurnal "Voprosy Istorii" 2022, no. 10-1 (October 1, 2022): 138–49. http://dx.doi.org/10.31166/voprosyistorii202210statyi20.
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The 20th century has become a turning point in terms of genres, styles, and musical language. Wars, the openness of borders, Chinese trips abroad of their homeland influenced the penetration of Western influences and new technologies into the country, from industry to the musical art of education. The article reveals the formation of new genres and formats - music and song school, piano music, instrumental music, romantic song, symphonic work. Each of the works that gave rise to these genres has its own prerequisites for creation and historical and cultural reality, which allows us to trace the interrelationships in the formation and development of Chinese music in the early 20th century.
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Polyakov, E. N., and T. V. Donchuk. "FORMATION OF FRENCH ART NOUVEAU STYLE IN EARLY WORKS OF HECTOR GUIMARD." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 21, no. 5 (October 29, 2019): 9–35. http://dx.doi.org/10.31675/1607-1859-2019-21-5-9-35.
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The article is devoted to the early activity of the famous architect Hector Guimard (1867–1942), the creator of French Art Nouveau. During this period (1891–1900) he successfully combined project work with teaching at the École Nationale Supérieure des Beaux-Arts. He searched for own directions in the architecture. Testing a variety of eclectic styles, in 1894 year Guimard acquainted himself with the work of Belgian architect Victor Horta (1861–1947) and adopted the main elements of the Art Nouveau. The article considers the earliest design works of E. Guimard, which reflected the main directions of his creative search, including Parisian mansions (1891–1894), Castel Beranger (1894–1898), Coilliot House in Lille (1898), Paris Metro (1898–1912).
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Ivanova-Ilyicheva, A., and N. Orekhov. "MANSIONS AND RESIDENTIAL BUILDINGS OF NOVOCHERKASSK 1900–1910." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 5, no. 12 (January 8, 2021): 56–64. http://dx.doi.org/10.34031/2071-7318-2020-5-12-56-64.
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Mansions and individual residential houses of the early XX century form the basis of the historical center of Novocherkassk. The building of the city harmoniously combines features of traditional Cossack housing and adherence to the capital's architectural fashion, imitation of St. Petersburg. The history of the formation of the city, the social structure of the population, economy and culture determined the features of its architecture. In preparing the article, the methods of field and historical archival research, comparative analysis of works and their details, the method of analogies are used. A comprehensive analysis of typical objects – the mansion of G.M. Salnikov, the Shamarins' mansion, the house of the ataman A.V. Samsonov, residential buildings of the military master V.A. Ratchenkov and the сossack I.A. Suslova. The space-planning, compositional, architectural and artistic features of Novocherkassk mansions and residential buildings in the 1900–1910 s are identified. The authors present the patterns of location of two types of housing in the structure of the city. The tendencies of the Art Nouveau style in the mansions are revealed. A comparative analysis of the functional planning organization and artistic-figurative solution of the Cossack kuren and the city dwelling house is carried out. The study shows the influence of two trends on the residential architecture of Novocherkassk in 1900–1910 – the capital's professional design practice and the local folk tradition.
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Vasilyev, A. A. "JAMES JOYCE’s EARLY AESTHETIC THEORY." Bulletin of Udmurt University. Series History and Philology 31, no. 5 (October 28, 2021): 1105–11. http://dx.doi.org/10.35634/2412-9534-2021-31-5-1105-1111.
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In this article, the author attempts to shed some light on the development of James Joyce’s aesthetic views in the context of the culture of the end of 19 and the beginning of 20 century. Relevance of this work is attributable to necessity of additional systematization of the aesthetic views of James Joyce. In this article, the author analyzes Joyce’s diaries 1903-1904, essays 1899-1902 and his novels “Stephen Hero” and “Portrait of the Artist as a Young Man”. The author considers the main concepts of Joyce’s aesthetic such as “analytic method”, “drama”, “classical temper”, “epiphany”. Considerable attention is paid to artistic rethinking of the aesthetic of Thomas Aquinas in James Joyce’s works. Joyce interprets the aesthetic of Thomas Aquinas in the manner of Walter Pater estheticism. In the context of this rethinking, Joyce’s concept of “epiphany” becomes important. Taken from theology concept “epiphany” is interpreted as a special view of the artist. The author concludes that the Thomist theory of the beautiful is reinterpreted in Joyce's work in the vein of English aestheticism of the late 19th century. The results of this investigation can be used in the works dedicated to modernism and in the teaching of literature of this period.
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Sarycheva, Kristina V. "Evolution of Female Images in the I.A. Grinevskaya’s Works of the 1890s–1900s." Studia Litterarum 8, no. 2 (2023): 140–61. http://dx.doi.org/10.22455/2500-4247-2023-8-2-140-161.
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The article discusses the evolution of female images in the literary and critical writings of I.A. Grinevskaya in 1890s–1900s. The analysis focuses on early works of the author, which reproduce different female types, their life and experiences. In the 1890s Grinevskaya describes recognizable situations in the home and family and women in their traditional roles. By the 1900s her attention shifts to serious social problems, which affects on her interest towards certain types of women, men and their relationships. In the play “Bab” (1903), the main characters, the prophet Bab and his follower Khuret, depart from traditional gender patterns of behavior. One of the main storylines is the women’s movement led by Khuret, which touches upon issues relevant to women at the beginning of the 20th century: women’s education, prejudice against the age, appearance and behavior of women. The play “Bab” marks the beginning of a new stage in the evolution of Grinevskaya’s creativity and worldview. In the late 1900s she herself becomes a member of the women’s movement, and the problems identified in the play will be discussed in her lectures in the 1900s.
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Kuhn, Philip. "Footnotes in the History of British Psychoanalysis: Observing Ernest Jones Discerning the Works of Sigmund Freud, 1905–1908." Psychoanalysis and History 16, no. 1 (January 2014): 5–54. http://dx.doi.org/10.3366/pah.2014.0138.
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In his late historical and autobiographical writings Ernest Jones claims that he first heard of Freud in 1903, then learnt German and was practising psychoanalysis by 1906. Observing Jones's intellectual development from his treatment of Tom Ellen in early 1905 through to his ‘emigration’ to Canada in late September 1908, reveals flaws in Jones's chronology because his journey towards ‘Freudianism’ was far more complex than he or his biographers have allowed. Jones's contemporaneous publications suggest that his early psychological researches were informed by Pierre Janet and that he only discovered Freud during the Amsterdam Congress in September 1907. Thereafter Jones's knowledge of Freud was gleaned second-hand mainly through the writings of the ‘Boston’ and ‘Zurich’ Schools and his first attempts at psychoanalysis were through Jung's Word Association Tests which he only started using after he arrived in Canada. Revising Jones's autobiographical claims has implications for our understanding of Jones and for the early history of British psychoanalysis.
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CANUTI, Silvia. "Christian Faith in Bing Xin’s Early Life: Tradition and Western Values in the Early 20th Century China." Asian Studies, no. 2 (September 25, 2012): 47–64. http://dx.doi.org/10.4312/as.2012.-16.2.47-64.
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Among Chinese writers of the 20th century, Xie Wanying 谢婉莹 (1900–1999), known with her pen name Bing Xin 冰心, has been considered by literary critics as “the writer of love” and “the philosopher of love”. Nevertheless, this label seems to have ignored an element that could let us identify important conflicts within her works, that can be attributed to her contacts and relations with people and institutions linked to the Christian faith. Therefore, in the first period of Bing Xin’s literary production (1920–1930), this peculiar aspect of Western culture, the Christian belief, seems to be for her the expression of a definitely alternative and unconventional way to achieve truth in the early 20th century China.
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Titarenko, S. D. "Poetics of Prose of Vyacheslav Ivanov of the End of the 19th – Beginning of the 20th Century: Artistic Philosophy and the Discovery of Esthesis." Solov’evskie issledovaniya, no. 3 (September 30, 2023): 168–82. http://dx.doi.org/10.17588/2076-9210.2023.3.168-182.
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This paper is the study of the early philosophical prose of the Russian symbolism theorist Vyacheslav Ivanov during the period of the 1880-s–1900-s. This issue has been understudied and requires approach based on interdisciplinary methods. The materials from the writer's archive and publications reflecting the development of his prose, characterized by a synthesis of philosophical, religious and artistic principles characteristic of the poetics of Russian symbolism, are analyzed. The materials analyzed include early prosaic sketches of Ivanov, fragments of his so-called Intellectual Diary, religious, philosophical, literary and critical essays, articles and other works. Emphasis is placed on the principles of forming a metaphysical discourse, as well as the genre dynamics of Ivanov’s early prose, which can be characterized by essay type of writing and the increasing importance of the philosophical parts. These works are compared to his prose of the early 1900-s published in the “Vesy” journal. It is concluded that Ivanov’s prosaic manner is characterized by the poetic and cultural discourse and his thesaurus is based on the metaphysical language of images. The important components of this discourse include principles of ancient aesthetics of thought and the revitalization of text via various metaphors. A vital role is played by esthesis as one of the methods of philosophical perception and aesthetic reflection of the sensual world. The texts of the Old and New Testaments and the Christian tradition prove to have an essential impact. The influence of works by Aristotle, Plato, B. Pascal, J. W. Goethe, V. Solovyov, F. Nietzsche on the development of metaphysical language of Ivanov’s prose is noted. The conclusion is made that the author’s early prose is the result of attaining an individual style, reflecting the phenomenology of the symbolist consciousness.
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Kretsu, O. G. "SOVIET SERVICE AT THE EARLY 1960S — EARLY 1990S: HISTORIOGRAPHY OF THE ISSUE." Northern Archives and Expeditions 5, no. 2 (June 30, 2021): 113–19. http://dx.doi.org/10.31806/2542-1158-2021-5-2-113-119.
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Nowdays historical science is increasingly referring to problems that have not previously come to the attention of authors. At the same time, researchers in their works try to rely on interdisciplinary methodological practices that have come to us relatively recently (micro- and macrohistorical analyzes, mathematical research methods, the study of the history of everyday life, mentality, etc.). Among the issues that are currently receiving the attention of representatives of the humanitarian fields of knowledge, we can single out the topic of service and of a person who was in these realities. Therefore, in the article have been made analyze of the historiography of the topic of Soviet service in the period from the early 1960s to the early 1990s. We have studied the works of both domestic and foreign authors. They paid special attention to such aspects as the culture of serving the population in the realities of the transition to a "consumer" society, the role of the individual and the collective in these conditions, the emergence of new forms of service, the economy of the service sector, the formation of a mental differnces between the service sector and the household service, etc. etc. Much more often, authors began to address the local aspect of the topic. In addition to the above, it can be concluded that the researchers paid special attention to areas such as utilities, restaurants and hotels, but the least covered was the issue of hairdressing. This conclusion can serve as a basis for the development of new topics in the regional context of Krasnoyarsk and Krasnoyarsk Region.
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Vasileva, Nina Mikhailovna, and Olga Anatolyevna Tuminskaya. "Publishing activity of S. P. Diaghilev in the early (Russian) period of his life." Pan-Art 4, no. 2 (May 23, 2024): 115–19. http://dx.doi.org/10.30853/pa20240017.
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The purpose of the study is to supplement the known scientific data on the publication activities of S. P. Diaghilev by putting into scientific circulation information about the printed publications of 1897-1901, which are kept in the Research Library of the Russian Museum. One cannot deny the possible influence of these projects on the main result of Diaghilev’s early (Russian) period of publication activity – the publication of the “Yearbook of the Imperial Theaters”: season 1899-1900 and three Supplements to it in 1900. This text reveals the position of the leader of the theatrical and exhibition process in Russia in the late 19th and early 20th centuries, S. P. Diaghilev, regarding the role of Russian art, his understanding of the importance of the major transformations taking place in art during his time. The authors of the article provide descriptions of creative initiatives in the great impresario’s publishing projects aimed at evaluating art criticism and bibliography. The reader is given links to S. P. Diaghilev’s well-known and little-studied or first-time presented publications, considered in terms of their book design, and works about him. Scientific novelty: a new perspective on the task set makes it possible to assess S. P. Diaghilev’s contribution to Russian art, art criticism, publishing, and book design. As a result of the analysis of the presented facts, little-studied aspects of S. P. Diaghilev’s publishing activities were revealed, and the artistic background that favorably influenced the achievement of the goal of book publishing was shown, which represents a new direction in Russian art criticism: an interdisciplinary study combining the categories of bibliography, bibliology, publishing, graphics, the history of illustrated book design, theater studies, and other related types of culture.
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Skopa, V. A. "ORGANIZATION AND ACTIVITY OF THE URAL STATISTICAL COMMITTEE IN THE LATE 19-TH - EARLY 20-TH CENTURIES." Vestnik Altaiskogo Gosudarstvennogo Pedagogiceskogo Universiteta, no. 46 (March 15, 2021): 76–80. http://dx.doi.org/10.37386/2413-4481-2021-1-76-80.
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The post-reform period in the Russian Empire laid down new principles for the organization and functioning of regional statistical services. Since the second half of the 19th century, the demand for statistical data had increased significantly. De jure and de facto, the Ural Statistical Committee dates back to 1896. Beginning in 1900, all military statistics were transferred to the committee. In connection with the increased load on the committee from the military capital, the regional statistical center was allocated an allowance of 1,500 rubles, and the total budget was 4,000 rubles. All the activities of the committee are represented by the implementation of mandatory statistical work and the socio-cultural study of the region. In 1901, the Ural Committee developed and introduced agricultural cards for collecting information about the industry under study and the systematic formation of data. In 1910, the committee conducted a survey of the property and occupations of the population. The Ural Statistical Committee paid special attention to “optional” works, most of which were devoted to the life and occupations of the population.
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Murashevych, K. G. "Сonception of Chinese Symbolic Poetry on the Examples of Dai Wanshu’s Early Works." Oriental Studies 2012, no. 59 (September 30, 2012): 138–47. http://dx.doi.org/10.15407/skhodoznavstvo2012.59.138.
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Knust, Martin. "Theatrical Declamation and Wagner’s Works – A Research Overview." Dramaturgias, no. 24 (December 30, 2023): 143–55. http://dx.doi.org/10.26512/dramaturgias24.52127.
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Exactly 100 years after Rudolf Kirsten’s Streifzüge durch die musikalische Deklamation in Richard Wagners Parsifal,1 I pursued the hypothesis, that Wagner’s music has been shaped by theatrical declamation.2 This gap indicates that the deep connection between his works – which includes not only the music but also the performance on stage – has been forgotten in the meantime. Instead, music scholars during the 20th century have claimed that Wagner’s musical declamation is ‘naturalist’. But as early recordings from around 1900 illustrate, the vocal delivery of actors, the declamation of dramatic texts was on the contrary everything else than natural. Given the fact that the styles of speech and even spoken everyday language itself change over time, my hypothesis was to verify the extent of the impact of contemporary theatrical declamation in Wagner’s works. In this essay, I will first give an overview about the musicological research about this topic that focuses on my own writings, especially my doctoral dissertation. In a second part, a report about performance research projects follows that have been launched ever since its publication.
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Chamakhud, Daryna. "Yakiv Yatsynevych: New Look at the Periodization of Life Creation." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 198–217. http://dx.doi.org/10.31318/2522-4190.2022.133.257342.
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Relevance of research. Reconstruction of life-creation of a little-investigated Ukrainian composer Yakiv Yatsynevych is a troublesome process that demands enormous efforts. The works of T. Filenko, O. Semirozum, L. Korniy, and other researchers do not propose a solution to the problem of periodization. In this regard, it’s necessary not only to continue the studying of bibliographical events, facts and even decennaries of Y. Yatsynevych life, that were ignored by scientists’ focus, including the compositor’s music heritage in different genres, but also to generalize already gained finds of musicologists aside with own elaborations in this monographic theme.
Objective of the research is to form the periodization if the artist’s life- creation on the bases of earlier unknown materials from archives in Kyiv, taking into account the external and internal factors. During the fulfillment of the mentioned tasks such methods of investigation were used: source study (search of documents in the archives of Kyiv), systematization (division and classification of founded materials), historical-chronological (streamlining and reconstruction of the compositor’s biographical way), analysis (music works studying), synthesis (joining of gained knowledges), generalization (periodization forming).
Scientific novelty consists in the fact that the periodization of Y. Yatsynevych life-creation is formed in the Ukrainian musicology for the first time. Periodization is based on the author’s investigations of bibliographical documents and composer’s music heritage materials in eight volumes in Kyiv archives collected over many years.
Research results and perspectives. Taking into consideration biological, chronological, social, psychological and creative age of Y. Yatsynevych, and also artist’s sociocultural, historicalpolitical peculiarities, geographical place of residence, genre diversity of his music, the universal periodization of Y. Yatsynevych life-creation is formed.
Early Period, up to 1905 (formation of the basis of composer’s creativeness, relatively uncomplicated music, narrow circle of genres):
First Phase, up to 1900 (childhood and youth years in Bila Tserkva, period of study in Kyiv, formation as conductor and composer, Kyiv artistic environment influence, music works are not preserved).
Second Phase, 1900–1904 (exercising piano music, active music work in Kyiv).
Crisis of Middle Age in Composer’s Art, 1905–1915 (absence of qualitative musical works, conducting activities, non-musical work at public offices).
Adult Period, 1915–1930 (complication of music language and genre system, exercising of chamber and amplitudinous forms, the top of composer’s creativity, embraces work in Kyiv and Odessa):
First Phase, 1915–1925 (fruitful activity in artistic and church life of Kyiv, collecting of folklore material, choir music domination, repertoire expansion of piano works and instrumental ensembles).
Second Phase, 1925–1930 (heading of the artistic life of Odessa, appearing of chambervocal compositions, activation of new art genres: oratorio, opera, symphony, cinema music).
Enforced Crisis, 1930–1940 (non-recognition of creativity, difficult social conditions, absolute efficiency to non-music work, creation of single music compositions).
Late Period, 1940–1945 (post-crisis condition, pause of silence, deportation to Adyheia АR, decreasing of artistic activity, a little number of music works in big magazines).
Suggested periodization depicts the entire picture of Y. Yatsynevych life and creation and is the basis for further investigations of his music heritage.
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Neff, Severine, Walter Frisch, and Arnold Schoenberg. "The Early Works of Arnold Schoenberg 1893-1908." Notes 51, no. 4 (June 1995): 1289. http://dx.doi.org/10.2307/899105.
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Whittall, Arnold, Arnold Schoenberg, and Walter Frisch. "The Early Works of Arnold Schoenberg, 1893-1908." Musical Times 135, no. 1818 (August 1994): 510. http://dx.doi.org/10.2307/1003334.
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Shreffler, Anne Chatoney. "The Early Works of Arnold Schoenberg, 1893-1908." Modernism/modernity 2, no. 1 (1995): 199–200. http://dx.doi.org/10.1353/mod.1995.0015.
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Boynton, Neil, Walter Frisch, and Arnold Schoenberg. "The Early Works of Arnold Schoenberg 1893 - 1908." Music Analysis 15, no. 2/3 (July 1996): 373. http://dx.doi.org/10.2307/854069.
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Manucharova, D. A. "Portrait Works by Olga Della-Vos-Kardovskaya in the Context of the Russian Art of the 1900s-1930s." Art & Culture Studies, no. 2 (June 2024): 220–49. http://dx.doi.org/10.51678/2226-0072-2024-2-220-249.
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The article focuses on portrait works by Olga Della‐Vos‐Kardovskaya — from her first significant paintings in this genre (e.g. Portrait of Nikolay Gumilev, 1908, State Tretyakov Gallery) to the last ones dating back to the late 1930s. This aspect of the master’s activity has not yet been the subject of a comprehensive research. Meanwhile, there has been a growing interest in the creative work of Olga Della‐Vos‐Kardovskaya, which is evidenced by the fact that her paintings are presented at many major exhibitions in Russia. First of all, these include her portraits, which reflect various trends in the Russian fine art of the early 20th century and the Soviet art of the 1920s‐1930s. The author of this article suggests dividing Olga DellaVos‐Kardovskaya’s portraits into three main types: representative, chamber, and typified portraits. The last group includes a subtype — children’s portraits. The artist created portraits of the three types throughout her entire creative biography. This division allows defining the features of the master’s portraiture and considering her paintings and drawings in the context of art development in the first three decades of the 20th century. As a result, it is possible to draw a conclusion that despite radical changes in the country and in the artist’s life, her portraiture remained almost unchanged during the 1900s‐1930s. In comparison with the pre‐revolutionary period, in her later works there appeared new character types, but the representation principles and artistic techniques remain the same. The most striking differences are found in her children’s portraits, which in the pre‐revolutionary work of Della‐Vos‐Kardovskaya were associated with idealistic retrospective tasks (children were depicted in 19th‐century interiors, wearing old‐fashioned costumes) and became ideologically loaded in Soviet times.
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Kladaki, Maria, and Kostantinos Mastrothanasis. "Shakespeare’s Plays at the Royal Theatre in Athens in the Early 20th Century." European Journal of Language and Culture Studies 1, no. 6 (December 19, 2022): 52–58. http://dx.doi.org/10.24018/ejlang.2022.1.6.53.
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In the early 20th century, the idea of creating a state theatre in Greece matured, that was responsible for establishing the foundation of a national dramatic tradition, as well as of the art of histrionics which until that time was characterized by amateurism. The Royal Theatre opened its doors to the public in 1900 and was based on the model of German Court theatres. In other words, theatre was considered a superior form of art that had to be kept away from the lower social classes. The absence of a powerful urban class and the lack of cohesion between the urban class and the lower classes favored the role of the Court, which was influenced by Drama when it comes on shaping its public guise and consolidate its dominance, by ensuring that a specific theatre style, aesthetics and ideology were preserved. Shakespeare’s performances in Greece were based on uncritical copying of practices applied in Europe in the light of the country’s agonizing struggle to build a new national and urban class identity. The audience of the Royal Theatre was seeking its own identity within that phantasmagorical ambience; that is for points of convergence with the western model, so as to receive social recognition and feel self-justified, as participation in such events were classified as “cultured persons”. The theatrical environment itself and the utilization of works of the English poet's works played a role in solidifying the idea in Greece that Shakespeare’s plays are the exclusive privilege of the urban class.
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Sablin, Ivan. "Transcultural Chukotka: Transfer and Exchange in Northeastern Asia, 1900-1945." Soviet and Post-Soviet Review 39, no. 2 (2012): 219–48. http://dx.doi.org/10.1163/18763324-03902005.
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In the 1920s – 1940s the indigenous peoples of Chukotka, the northeastern extremity of Asia, were subjugated by the Soviet Union. This article takes a transcultural look at this process and seeks to explore what interactions shaped the region in pre- and early Soviet periods and what was exchanged through these interactions at different times. The cultural flows under study include those of material objects, diseases, language, institutions and ideas. A great deal of attention has been paid to the reception of exchange in indigenous communities, which was reconstructed based on memories and literary works of indigenous people of Eskimo, Chukchi and Even origin. The article aims to incorporate the case of Chukotka, which was subject to “socialist colonization”, into international cultural and social discourse and seeks to test transcultural methodology in a non-capitalist context.
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Sorokina, Nataliya V., and Lyudmila E. Abramenkova. "Problems and poetics of short prose by D. Rubina 1970–1980s." Neophilology, no. 28 (2021): 653–60. http://dx.doi.org/10.20310/2587-6953-2021-7-28-653-660.
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We consider thematic, genre-compositional, stylistic features of D. Rubina’s works of the early period of her work. We focus on the analysis of stories “On Saturdays”, “This wonderful Altukhov”, “The House behind the Green Gate”, “Thorns”, which were included in the collection of short prose by D. Rubina of the 1970s–1980s. The relevance of study is associated with the need to study the work of one of the leading modern literature authors in order to clarify the general picture of the literary process at the turn of the 20th–21st centuries and the place of a particular artist in it. We formulate the main features of D. Rubina’s early works, which consist in the increased role of the autobiographical beginning, the presence of special heroes-representatives of creative professions, attention to the problems of childhood and the relationship between the older and younger generations, the introduction of mystical elements, the proximity of stories to the novelistic genre. We draw parallels with some of the writer’s later works from the perspective of development of images, artistic techniques. We define the prospects for the study of D. Rubina’s short prose: the study of the cross-cutting motives of writer’s stories, novellas and novels from the initial to the present period of creativity, the analysis of the intertextual connections of author’s works with classical and modern Russian and foreign literature.
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Pechenkin, Ilya E. "I.V. ZHOLTOVSKY’S EARLY WORKS AS A SPECIAL CASE OF CONSTRUCTING THE CLASSICS DURING THE MODERNIST ERA." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2020): 128–50. http://dx.doi.org/10.28995/2073-6401-2020-4-128-150.
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I.V. Zholtovsky’s (1867–1959) the earliest works are traditionally considered by researchers like a sort of marginalia in his professional biography, although it is reasonable to assume that he was formed as an architect just during the pre-revolutionary period. According to S.O. Khan-Magomedov, Zholtovsky was engaged in something like laboratory experiments in 1900–1910s, selecting the forms and techniques that were most perfect from an artistic point of view. However, that process should be viewed not so much in the plane of abstract artistic quality as in the context of stylistic searches of the early 20th century aimed at overcoming eclecticism. It is usually to associate those searches with Art Nouveau, but in Russia the idea of acquiring a true style was embodied in neoclassic tendency. The new classical architecture as a phenomenon was built against the background of the steady modernization of the society and culture, so that the talking about the revival of the historical traditions had a small relation to reality. The originality of the aesthetic choice became truly significant in architecture, and Zholtovsky’s radical Palladianism, based not on approximate imitation of the classics, but on the exact quotation of famous villas and palazzo, fully corresponded to the trend.
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Drost, Vincent. "Des érudits du XIXe siècle à Adrien Blanchet : la genèse des études de trésors monétaires en France." Revue numismatique 6, no. 178 (2021): 411–41. http://dx.doi.org/10.3406/numi.2021.3532.
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Adrien Blanchet is generally considered as the founding father of coin hoard studies in France. However, Blanchet’s masterpiece, Les trésors de monnaies romaines et les invasions germaniques en Gaule (1900), relies on reports by 19th century local scholars. The latter’s works have been judged quite harshly by modern numismatists. Imperfect as they may be, early hoard studies have the merit of existing at a time when single collectible items were preferred over archaeological groups of objects. Also, they provide thoughtful insights on the way coin hoards were dealt with, physically as well as scientifically, in 19th century France.
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Dvinyatina, Tatiana M. "Literary Circle of the Poet I.A. Bunin in 1895–1900." Studia Litterarum 8, no. 3 (2023): 126–47. http://dx.doi.org/10.22455/2500-4247-2023-8-3-126-147.
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This article traces the history of the formation of Ivan Bunin’s poetic circle during the first years of his metropolitan literary career: from his first visit to Moscow in early 1895 to the time when he was preparing his key collection of poems, “Autumn” (1901). Those were the years when Bunin established contacts with the senior symbolists Konstantin Balmont and Valeriy Bryusov, made the acquaintance of Chekhov and Gorky and became friends with Aleksander Fedorov, Aleksander Kuprin and the members of the Fellowship of South Russian Artists, some of whom influenced the young Bunin’s literary work. By the beginning of the 1900s Bunin had formed links which subsequently strengthened with the Moscow Literary Circle, which included poets and writers from various movements, and the “Parnasus” association, which from 1899 was renamed “Wednesday” and included poets and writers of a non-symbolist tendency, among whom Bunin’s literary biography moved forward. Particular attention is paid in the article to the mutual influence between and textual echoes in Bunin’s poems and those of symbolists, which have to be taken into consideration in the scholarly annotations to the recently launched first complete edition of Bunin’s works.
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Mallen, Enrique. "The Picassos in the 1901 Vollard Exhibition and Their History." Arts 12, no. 2 (April 11, 2023): 78. http://dx.doi.org/10.3390/arts12020078.
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This article describes Picasso’s first visit to the French capital in 1900, and the events that led to his first major exhibition at the acclaimed Galerie Ambroise Vollard in Paris in 1901. The first section provides a narrative of his early experiences abroad as a young unknown artist, his influences, and the contacts he established with friends, artists and dealers during this important period of his career; the second section traces the histories of the sixty-five artworks that were exhibited, identifying the collections those items went through after they were exhibited, their current locations, as well as the exhibitions in which they have been featured since Vollard first displayed them in his gallery. The last section elaborates on some of the immediate repercussions of the exhibition. The reported findings are the result of extensive research on hundreds of books and catalogs published on Pablo Picasso from 1901 to the present. The new facts we have uncovered are published here for the first time. Readers of the article will learn that the works included in Picasso’s first exhibition in France have been part of the most prestigious art collections, such as those of Justin K. Thannhauser, Gertrude Stein, Chester Dale, Paul Guillaume, Walter P. Chrysler, Jr., Paul Mellon, Helena Rubinstein, Alfred Flechtheim, Walter C. Arensberg, among others. The works have also been featured in such important overviews of his career as “Picasso, 75th Anniversary” 1957–1958, and “Picasso: An American Tribute”, 1962. Thus, while Vollard claimed that the exhibition at his gallery had no major impact, the facts show that it not only played an important role in Picasso’s acceptance as a groundbreaking newcomer, but also left a significant mark on the rest of his career, as evidenced by the works’ inclusion in the retrospectives held in Paris and Zürich in 1932, and New York in 1980.
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Morozov, Sergey N. "Some Issues of Commenting Ivan Bunin’s Early Stories of 1887–1902." Studia Litterarum 8, no. 3 (2023): 194–213. http://dx.doi.org/10.22455/2500-4247-2023-8-3-194-213.
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The paper examines the principles and methods of commenting Ivan Bunin’s early fiction prose. It is pointed out that research into the type and level of completeness of scholarly commentaries on works of classics of Russian literature has been conducted for almost a century. The structure of the commentary in academic collections of Russian writers’ works is presented. The article offers a methodology of writing a commentary on the early literary prose of Ivan Bunin, while exploring the problems and questions that arise in the commentaries on the writer’s prose written for the future academic Complete Works and Letters by Ivan Bunin, the work on which has already begun. The principles of writing each section of the commentary for this scholarly edition of Bunin’s literary heritage are outlined: textual, historical-literary, and realhistorical ones. The latter section is presented in a more detailed structure of seven paragraphs. For each item, the paper provides several examples of commentary on specific realities from Bunin’s early stories. A separate section is devoted to linguistic commentary, for which several examples of commentary on particular regional words and folk expressions are also given. Thus, the commentary on Bunin’s prose should be comprehensive, combining with the greatest possible completeness all the necessary information about each work.
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Шик, Ида Александровна. "Images of Leningrad in Soviet porcelain art of the 1930s – early 1950s." Искусство Евразии, no. 2(17) (June 27, 2020): 236–54. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.015.
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В статье автор ставит целью проследить эволюцию репрезентации образа Ленинграда в фарфоре 1930-х – начала 1950-х годов на материале произведений мастеров Государственного фарфорового завода им. М.В. Ломоносова из собрания Государственного Эрмитажа (отдел «Музей Императорского фарфорового завода»). В 1930-х – начале 1950-х годов виды Ленинграда привлекают внимание таких художников, как В.П. Фрезе, Т.Н. Безпалова-Михалева, М.А. Брянцева, И.И. Ризнич, Л.И. Лебединская, Е.П. Кубарская, А.Ф. Большаков, Г.Д. Зимин, А.И. Быстров. В фарфоре 1930-х годов складывается советская «иконография» Ленинграда, подчеркивающая его значение как «колыбели революции» и города с богатым культурно-историческим наследием. В произведениях военного периода, посвященных блокадному Ленинграду, находят отражение трагические события в жизни города, переданные с особенным драматизмом и высокой степенью достоверности. В то же время художники стремятся подчеркнуть величие города и мужество его защитников. Во второй половине 1940-х – начале 1950-х годов образ города-героя Ленинграда приобретает особую величественность и монументальность, характерную для стиля «Победа» в советском декоративно-прикладном искусстве. In the article, the researcher investigated the evolution of the Leningrad image representation in the art porcelain of the 1930s – the early 1950s. The author considered the pieces of porcelain artists of the State Porcelain Factory named after M. V. Lomonosov from the collection of the Museum of the Imperial Porcelain Factory of the State Hermitage. In the 1930s – the early 1950s such porcelain artists as Varvara Freze, Tamara Bezpalova-Mikhaleva, Maria Briantseva, Ivan Riznich, Larisa Lebedinskaia, Elena Kubarskaia, Andrey Bol’shakov, Grigory Zimin, Aleksandr Bystrov interpreted the image of Leningrad in their works. The researcher underlined that in the 1930s the artists created the Soviet “iconography”, emphasizing its importance as the “cradle of the revolution” and a city with a rich cultural and historical heritage. In the works of the war period, dedicated to besieged Leningrad, the artists reflected the tragic events in the life of the city with a special drama and a high degree of reliability. At the same time, the artists aimed to emphasize the greatness of the city and the courage of its defenders. In the second half of the 1940s – the early 1950s the image of the Hero-City of Leningrad acquired a special grandeur and monumentality in the works of the porcelain artists. These tendencies were generally typical for the “Victory style” (“Pobeda style”) dominating in the Soviet decorative and applied art after the Second World War.
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Renger, Almut-Barbara. "The Emergence of the Master around 1900: Religious Borrowings and Social Theory." Journal of Religion in Europe 5, no. 1 (2012): 1–22. http://dx.doi.org/10.1163/187489211x612604.
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In the late nineteenth and early twentieth centuries, within a variety of spheres, individual personalities referred to as ‘masters’ were venerated in quasi-religious terms. As a result, treatises relevant to the theme of the ‘master’ were written which had a major impact on subsequent scholarship, particularly in the sociology of knowledge and religion. Inspired by the poet Stefan George and taking his circle as a model, Max Weber, Max Scheler, and Joachim Wach published important works that enlisted religious and cultural historical approaches as well as social theory on topics like community building, the transference of knowledge, religious specialism, and charisma. These studies attest to a pronounced fascination with the phenomenon of the ‘master,’ which the present article investigates with reference to selected publications by the aforementioned scholars.
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Baur, Steven. "Ravel's "Russian" Period: Octatonicism in His Early Works, 1893-1908." Journal of the American Musicological Society 52, no. 3 (1999): 531–92. http://dx.doi.org/10.2307/831792.
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The octatonic scale has provided composers an important alternative to common diatonic practice since the middle of the nineteenth century. Scholars have traced a direct line of transmission with respect to octatonic writing passing from Liszt, through Rimsky-Korsakov, to Stravinsky. But octatonicism also figures prominently in the music of Maurice Ravel, and several works from the first fifteen years of his career implicate Ravel directly in the octatonic legacy, simultaneously bearing the influence of nineteenth-century chromatic harmony as practiced by Liszt and Rimsky-Korsakov and anticipating methods of octatonic partitioning heretofore considered specifically Stravinskian innovations.
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Baur, Steven. "Ravel's "Russian" Period: Octatonicism in His Early Works, 1893-1908." Journal of the American Musicological Society 52, no. 3 (October 1999): 531–92. http://dx.doi.org/10.1525/jams.1999.52.3.03a00040.
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Magomedova, Dina M. "“AND IT IS NECESSARY THAT THE OTHER GOES...”. BIBLE QUOTES AND THEIR SOURCES IN ALEXANDER BLOK’S WORKS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2022): 204–12. http://dx.doi.org/10.28995/2686-7249-2022-6-204-212.
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The article considers and describes the marks on the pages of the Bible, preserved in the home library of A. Blok. The greatest number of marginalia is found in the Pentateuch, Ecclesiastes, the Book of Wisdom of Solomon, the Gospel of John, the 1st Epistle of John, and the Revelation of John the Theologian. A number of quotations are reflected in Blok’s poems, dramas, and articles. The influence of the text of the Apocalypse is particularly evident in the early lyrics of 1901–1904, and then, in the period of “antithesis” (1905–1908), not only in poetry, but also in drama. The analysis of markings in the Gospel makes it clear that the Other, about whom Blok spoke in connection with the figure of Christ in the poem “The Twelve”, is the Holy Spirit, the Comforter. As a source of biblical reminiscences the author considers the text of the “Service of the Church of St. John”, created by D.S. Merezhkovsky and Z.N. Gippius and used by them in home services. Quotations from that source in Blok’s poems allow the author to question the extent of Blok’s knowledge with the practice preached by D.S. Merezhkovsky “The Church of the Third Testament”
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Urtmintseva, M. G., and T. G. Maksimova. "M. Gorky’s Works of 1890—1900 in French Literary Criticism and Publicity of Early 20th Century: from Fact to Image." Nauchnyy dialog, no. 6 (2019): 190–205. http://dx.doi.org/10.24224/2227-1295-2019-6-190-205.
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Tučev, Nataša. "REPRESSED SOCIAL CONTENT IN A MODERNIST NARRATIVE: THE CASE OF LORD JIM." PHILOLOGIA MEDIANA 14, no. 1 (June 13, 2022): 153–62. http://dx.doi.org/10.46630/phm.14.2022.11.
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The paper starts from the assumption that the social content is not absent from the major works of Modernist literature, but merely repressed or displaced through various narrative strategies. While the early critical debate on Modernism – which started with Lukács’ writings in the 1930s – condemned this literary movement as apolitical, and too narrowly focused on the subjective, inward experience of an individual, subsequent contributors to the debate took a more balanced approach. The paper pays special attention to Fredric Jameson’s theory on the existence of repressed social meaning in Modernist works, and his view that by applying Marxist hermeneutics it is possible to discern it and show how it affects the narrative. Joseph Conrad’s novel Lord Jim (1900) is used in this paper to exemplify the features of Modernism discussed by Jameson. Some of the key scenes and motifs in the novel are analysed with a view to establishing their underlying socio-historical dimension and demonstrating how it contributes to the overall understanding of Conrad’s artistic vision.
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Zakiev, R. Z., and V. V. Guryanov. "125 years of the Department of Skin and Venereal Diseases of Kazan State Medical University." Kazan medical journal 78, no. 6 (December 15, 1997): 469–70. http://dx.doi.org/10.17816/kazmj83702.
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The Chair of skin and venereal diseases was organized in 1872. Its first head was professor A.G. Ge, who graduated from the Medical faculty of Kazan University in 1865 and as early as 1868 defended his thesis for a Doctor of Medicine degree. From 1870 to 1872 A. G. Ge studied skin and venereal diseases abroad, in the clinics of the largest dermatologists Gebra, Zeisle, Sigmund and Brucke (in Vienna and Wrzburg). Thanks to his persistence and efforts on March 1, 1900 a new clinic was opened, built on donations of State Councilor I.I. Alafuzov, the owner of several factories in Kazan. A.G. Ge owns 20 works. The result of my many years of clinical teaching, personal observations and researches was the textbook "The course of venereal diseases", which was reprinted 8 times during the author's life. A considerable part of my works is devoted to the issues of organization of struggle against syphilis and prostitution. Prof. A.G. Ge headed the department for 35 years.
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Matyunina, Daria Stanislavovna, Maria Aleksandrovna Semyonova, and Alevtina Sakmarovna Habibova. "Between Kochel and Kalmunz. Early plein airs by Gabriele Munter at the school "Phalanx" by Vasily Kandinsky." Культура и искусство, no. 4 (April 2024): 14–29. http://dx.doi.org/10.7256/2454-0625.2024.4.70387.
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The subject of the study of the proposed article is the early plein-air works of the German expressionist artist Gabriele Munter, later a member of the Blue Horseman art association, a student and friend of Vasily Kandinsky. The authors of the article aim to review and introduce into scientific circulation a number of Munter's sketches created by her during summer trips to the plein air in 1902-1903 to the Alpine towns of Kochel and Kalmunz with the Munich art school "Phalanx", headed by Kandinsky. The article also examines the picturesque plein-air works by Kandinsky, created by him in the same years there, in Bavaria - mainly landscapes and sketches of figures in the landscape. The authors of the study see as their task to trace the influence of Kandinsky's artistic manner and his role as a teacher on the formation of a Munter painter. The research methodology includes formal stylistic, comparative methods of art criticism analysis, as well as a comprehensive historical and biographical approach. The relevance of the study is due to its scientific novelty: the authors of the article for the first time in Russian-language art history literature describe the pre-expressionist works of Munter during the period of joint plein-airs with Kandinsky, trace the formation of her artistic vision and picturesque manner, the influence of Kandinsky on her formation. The development of the impressionistic technique common to Munter and Kandinsky in the early 1900s, according to the authors of the article, is combined with individual searches for expressiveness of form and color. The first experiments of plein-air oil painting in a special "spatula technique" under the guidance of Kandinsky were accompanied by the successful search for Munter in the field of graphics, mastering the technique of printing color woodcuts. The authors of the article come to the conclusion that the formation of the original manner of Munter was equally influenced by both pictorial emancipation through sketching practice in oil, as well as their own experiences in drawing and engraving.
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Копосова, И. В. "Specifics of the Interpretation of the Canon in the Works of Luigi Dallapiccola in the 1940s and 1950s." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 141–58. http://dx.doi.org/10.26156/om.2020.12.5.009.
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В творчестве Луиджи Даллапикколы канон как форма и прием изложения занимает важнейшее место. Трактовка канона композитором рассматривается в статье на примере одного из ключевых этапов творчества, который связан с установлением собственного типа серийного письма, — десятилетия от начала 1940-х до начала 1950-х годов. Объектом анализа стали две сходных по своему составу пары сочинений Даллапикколы, возникшие в начале и в конце обозначенного этапа: «Каноническая сонатина» (1942–1945) и «Шесть песен Алкея» (1943), а также «Музыкальная тетрадь Анналиберы» (1952–1953) и «Песни на стихи Гёте» (1953). Их сравнение показало целый ряд отличий в подходе композитора к канону. В более ранних циклах каноническое изложение охватывает все части, а виды используемых канонов необычайно разнообразны; в более поздних на каноническое письмо опирается только часть номеров, сам канон представлен теми формами, структура которых связана с идеей полипараметровости (ракоходный, в увеличении, в обращении). Эти, а также другие особенности циклов начала 1950-х (изменение концепции вертикали в сторону диссонантности; появление канонических закономерностей в виртуальном слое фактуры, на уровне серийной диспозиции), демонстрируют овладение Даллапикколы серийным мышлением и типом письма. Canon as a form and principle occupied an important place in Luigi Dallapiccola’s creativity. In this paper the composer's interpretation of the canon is shown on the example of a pivotal moment of his creativity, which is related to establishment of his own type of 12-tone writing and spanned a decade from the early 1940s to the early 1950s. The object of the analysis is two similar pairs of works by Dallapiccola, which appeared at the beginning and at the end of the indicated stage: “Sonatina canonica” (1942–1945) and “Sex carmina Alcaei” (1943), “Quaderno musicale di Annalibera” (1952–1953) and “Goethe-Lieder” (1953). А comparison of these opuses showed a number of differences in the composer’s approach to the canon. The canonical exposition is present in all the movements; the types of canons are unusually diverse in the earlier cycles. In later works only a part of the movements is based on the canonical writing, the canon itself being represented by the forms, whose structure is associated with the idea of total serialism (in retrograde motion, in augmentation, in inversion). These and other features of the cycles of the early 1950s (for example, the change in the vertical towards the dissonance; the appearance of canonical principles in the texture and in serial disposition), show Dallapiccola’s mastery of serial thinking and type of composition.
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Sydorenko, Natalya, and Oleksandr Sydorenko. "Lesia Ukrainka’s cooperation with the Ukrainian press (1905–1907)." Obraz 35, no. 1 (2021): 8–16. http://dx.doi.org/10.21272/obraz.2021.1(35)-8-16.
Full textAbstract:
The aim of this study is to define on the basis of archival documents and Lesia Ukrainka’s episto-lary heritage the circumstances of her cooperation with mass media of the Russian Empire in the period 1905–1907, when Ukrainian newspapers and magazines were created in the Dnieper region and other cit-ies. The object of the study is mass media (projected periodicals and those published at that time), which published mostly literary works of art of the writer. The analysis includes archival materials related to projects and programs of the Ukrainian media of the early XXth century and creative work of Lesia Ukrainka. The research methods include biographical method, analogy, comparison, generalization, etc. It was found out that during 1905–1907 Lesiya Ukrainka was actively interested in new Ukrainian pe-riodicals, she has published a number of works (stories, poetry, translations, etc.) in the Ukrainian or pro-Ukrainian magazines in Odesa, Kyiv, St. Petersburg, Moscow, and Poltava; she has agreed to join the newspaper «Labor» and the children’s magazine «Star», which were never published.
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Kozin, Sergei V., and Zhanna B. Litvinova. "The Model of Sociological Education in the USSR (the Late 1950s — Early 1980s)." Review of Omsk State Pedagogical University. Humanitarian research, no. 30 (2021): 112–17. http://dx.doi.org/10.36809/2309-9380-2021-30-112-117.
Full textAbstract:
The article provides an analysis of foreign and Soviet scientific publications devoted to the problem of sociological education, the “revival” of Soviet sociology, as well as to the role and place of sociology among the sciences, in society and education. The given study covers the time period of the late 1950s — early 1980s and briefly describes the education of the population of the USSR at that time. Looking through the works on Soviet sociology, the authors show that sociology was introduced not only into the research areas of specific universities and laboratories, but also into many other branches and spheres of activity, as well as into the authorities’ activity. The authors of the article purposefully focus on the role of consolidation and mutual exchange of sociological research from various sociological services.
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Kuchina, Natalia. "The theatricality and cinematography of Alessandro Baricco's literary works." Филология: научные исследования, no. 1 (January 2024): 1–8. http://dx.doi.org/10.7256/2454-0749.2024.1.69488.
Full textAbstract:
The subject of the study is stylistic and genre techniques that go beyond literary traditions. The object of the research is the early works of Alessandro Baricco, the novels "Silk" and "Sea-Ocean", the scenario - monologue "1900: the legend of the pianist", the novel – scenario "Smith & Wesson" ("Smith & Wesson"), the novel "City". The research is going to show individual features and artistic techniques that allow achieving the greatest imagery, to identify innovative features of Alessandro Baricco's poetics. Baricco's literary narrative is completed by elements imitating acoustic and visual effects, which allows the reader to build suggestive images in mind, intense with visual and sound effects. This article research two types of works by Alessandro Baricco: those that were originally written not only for reading, but also for staging in the theater; and those where elements of theatricality and cinematography are implicitly inscribed in the text. The scientific novelty of the work is due to show various aspects related to the individuality of the author's thinking. The works of Alessandro Baricco are characterized by syncretism. The writer weaves elements from the theater and cinema into the narrative canvas, which makes his prose highly suggestive. It is also possible to talk about two author's strategies: a detailed description of the visual and sound accompaniment of the action, or half-hints aimed at the gradual recognition of interwoven theatrical and cinematic techniques, hints that help the reader understand what is happening. The results of the study can serve to expand interest to the work of Alessandro Baricco and further research his literature works as a whole with the diverse activities of Baricco in the world of culture.
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Morozov, Sergey. "Book Sources of the Text of Ivan Bunin’s Early Works." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 82, no. 2 (2023): 77. http://dx.doi.org/10.31857/s160578800025504-0.
Full textAbstract:
This article presents the first attempt to shed light on an important source study issue: the degree of Ivan Bunin’s participation in the preparation of book editions of his early works of 1887–1902. In the light of the work on the first academic Complete Works and Letters of Ivan Bunin, it is necessary to investigate this problem in its own right in order to determine which editions are ‘authorial’ and thus can be considered sources for the textual work with the writer’s early works, and which editions are not. Drawing on all the known evidence (correspondence, publishing contracts and agreements, biographical data of the writer), we have examined in detail the history of the publication of several books by Bunin (poetry and prose collections). The degree of N. D. Teleshov’s participation in the preparation for the publication of two books by Bunin was estimated (proofreading and signing the book into print). Non-author’s book editions of Bunin’s works, to which the author had no relation whatsoever, have been identified (therefore, they cannot be sources for the scholarly (critical) publication of the writer’s works).
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Yeung, Andy Wai Kan. "A Bibliometric Analysis on the Early Works of Dental Anxiety." Dentistry Journal 11, no. 2 (February 1, 2023): 36. http://dx.doi.org/10.3390/dj11020036.
Full textAbstract:
Dental anxiety has been a common phenomenon under investigation for decades. This report aimed to identify the historical roots of dental anxiety in the research literature. The literature database Web of Science Core Collection was searched to identify relevant papers on this theme. Cited reference analysis on the collected literature set was performed with CRExplorer, a dedicated bibliometric software. This analysis successfully identified the references dealing with dental anxiety in the late 1800s and early 1900s. They included essays that provided expert opinion on dental anxiety, reported semi-structured interviews to elucidate its underlying reasons, introduced psychometric scales to assess dental anxiety, and proposed theories and arguments from psychoanalytic aspects. Several references dealing with anxiety in general were also identified. To conclude, cited reference analysis was useful in revealing the historical origins of dental anxiety research. These cited references provided a concrete foundation to support subsequent dental anxiety research.