Relevant bibliographies by topics / Idealism in art

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Academic literature on the topic 'Idealism in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Idealism in art"

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Silva Jr, Almir Ferreira da. "Arte e Verdade: da imitação à apresentação da verdade em Platão e Hegel/Art and Truth: from mimesis to presentation of truth in Plato and Hegel." Pensando - Revista de Filosofia 3, no. 6 (March 15, 2013): 16. http://dx.doi.org/10.26694/pensando.v3i6.986.

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A comunicação tem como propósito uma análise comparativa sobre o problema filosófico da arte como expressão de verdade, tendo em vista o idealismo platônico e o idealismo estético moderno de G.W.Hegel. Parte-se da hipótese que a presente análise sustenta uma relação paradoxal entre ambas propostas idealistas, na medida em que se em Platão é afirmada a tese da arte como distanciamento da verdade, considerando o seu caráter essencialmente mimético, em Hegel , a arte ao constituir-se como momento de realização efetiva (Wirklichkeit) do Espírito só pode ser assim compreendida a partir do paradigma da ideia, de inspiração platônica. Ressalta-se a compreensão da arte oriunda da teoria metafísica platônica e de sua concepção idealista de aisthesis, bem como o caráter científico da estética, segundo Hegel, cuja fundamentação filosófica reivindica a compreensão da ideia, enquanto razão absoluta que se autodesdobra historicamente e se efetiva nos limites da finitude sensível. Pretende-se mostrar que a pretensa superação hegeliana da concepção idealista platônica acerca da arte não pode prescindir do fundamento do platonismo - a idéia universal, o infinito. Abstract: The Communication aims a comparative analysis on the philosophical problem of the art as an expression of truth, considering the Platonic idealism and the modern esthetic idealism from Hegel. The starting point is the assumption that this analysis holds a paradoxical relationship between both idealistic proposals, Insofar as Plato affirms the art thesis as detachment from the truth, considering his character essentially mimetic, Hegel says that the art to establish itself as a moment of effective realization from the Spirit (Wirklichkeit) can only be understood from the paradigm of the idea, of Platonic inspiration. We emphasize the art understanding coming from the Platonic metaphysics theory and his idealistic conception of aisthesis, as well as the scientific character of aesthetics, according to Hegel, whose philosophical foundation claims the understanding of the idea, as absolute reason that self unfolds historically carries up within the limits of finitude sensitive. It is intended to show that the Hegelian overcoming supposed from Platonic idealist conception about the art can not prescind from foundation of Platonism - the universal idea, the infinity. Keywords: Plato, Hegel, Idea, art, truth,idealism
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Bonds, Mark Evan. "Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century." Journal of the American Musicological Society 50, no. 2-3 (1997): 387–420. http://dx.doi.org/10.2307/831839.

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The growing aesthetic prestige of instrumental music in the last decades of the eighteenth century was driven not so much by changes in the musical repertory as by the resurgence of idealism as an aesthetic principle applicable to all the arts. This new outlook, as articulated by such writers as Winckelmann, Moritz, Kant, Schiller, Herder, Fichte, and Schelling, posited the work of art as a reflection of an abstract ideal, rather than as a means by which a beholder could be moved. Through idealism, the work of art became a vehicle by which to sense the realm of the spiritual and the infinite, and the inherently abstract nature of instrumental music allowed this art to offer a particularly powerful glimpse of that realm. Idealism thus provided the essential framework for the revaluation of instrumental music in the writings of Wackenroder, Tieck, E. T. A. Hoffmann, and others around the turn of the century. While this new approach to instrumental music has certain points of similarity with the later concept of "absolute" music, it is significant that Eduard Hanslick expunged several key passages advocating idealist thought when he revised both the first and second editions of his treatise Vom Musikalisch-Schönen. The concept of "absolute" music, although real enough in the mid-nineteenth century, is fundamentally anachronistic when applied to the musical thought and works of the decades around 1800.
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Cole, Brendan. "Jean Delville's La Mission de l'Art: Hegelian Echoes in fin-de-siècle Idealism." Religion and the Arts 11, no. 3-4 (2007): 330–72. http://dx.doi.org/10.1163/156852907x244557.

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AbstractJean Delville was not only a gifted painter, but also a prolific author, poet and polemicist. He is unique amongst his artistic contemporaries for having written extensively on the subject of Idealism in art. Idealist philosophy, as an intellectual influence, was fairly pervasive amongst contemporary non-realist authors, poets and painters; the core nineteenth-century influence in this regard was the writings of Arthur Schopenhauer. Delville, however, took a different path, particularly in his seminal book, La Mission de l'Art, and his various polemical essays on the subject, which reflect, rather, key ideas derived from the writings of the German Idealist, G.W.F. Hegel. Hegel's influence on late-nineteenth century non-realist art is understated in the literature. This paper analyses the main ideas of Delville's La Mission de l'Art in the context of Hegelian Idealism. It focuses on key areas of this tradition, specifically with regard to the nature of the Idea and the Ideal, the relation of the Ideal to the natural world, the relation between the Idea and the notion of Beauty and the special role of the artist in revealing the Idea in physical form.
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Preston, John. "Art-Rap, German Idealism and Therapy." Philosophers' Magazine, no. 74 (2016): 66–69. http://dx.doi.org/10.5840/tpm201674101.

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Verzosa, Noel. "Realism, Idealism and the French Reception of Hanslick." Nineteenth-Century Music Review 14, no. 1 (November 28, 2016): 51–64. http://dx.doi.org/10.1017/s1479409816000288.

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When Charles Bannelier’s French translation of Hanslick’s Vom Musikalisch-Schönen was published in 1877, it elicited discussions among French musicians and critics that can seem puzzling from our twenty-first century vantage point. The French were almost entirely ambivalent to the issue of descriptive versus non-programmatic music and were perfectly comfortable disregarding this seemingly central point of contention in Hanslick’s treatise. French critics focused instead on issues that seem tangential to the main thrust of Vom Musikalisch-Schönen: German music education, the merits of philosophy versus philology, and so forth.The French reception of Hanslick becomes less puzzling, however, when we consider the conceptual framework within which French musical discourse operated in the late nineteenth century. By 1877, musical aesthetics and criticism in France were an extension of broader trends in French intellectual culture, in which a materialist, realist view of the world vied with a metaphysical, idealist conception of the divine. Between these two ideological poles lay a rich spectrum of ideas that had profound ramifications for music and art criticism. The degree to which works of art could be understood as products of historical circumstances, for example, or whether art embodied ineffable meanings resisting explanation, were questions whose answers depended on one’s position along this realist–idealist spectrum.In this article, I show how this tension between realism and idealism formed the conceptual framework for French critics’ readings of Hanslick’s Vom Musikalisch-Schönen. I survey writings by Théodule Ribot, Jules Combarieu, Camille Bellaigue and others to show how this network of texts, when placed alongside each other, was effectively a manifestation of the realist–idealist spectrum. By putting these writings in conversation with each other, this article brings to light the intellectual premises of French writings on music in the nineteenth century. Only by understanding these premises, I argue, can we make sense of the French reception of Hanslick.
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Burford, Mark. "Hanslick's Idealist Materialism." 19th-Century Music 30, no. 2 (2006): 166–81. http://dx.doi.org/10.1525/ncm.2006.30.2.166.

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In the mid-nineteenth century, materialist and empiricist modes of thought characteristic of natural science increasingly called into question the speculation of German idealist philosophy. Music historians have commonly associated Eduard Hanslick's Vom Musikalisch-Schšnen (On the Musically Beautiful, 1854) with this tendency toward positivism, interpreting the treatise as an argument for musical formalism. His treatise indeed sought to revise idealist musical aesthetics, but in a far less straightforward way. Hanslick devotes considerable attention to the "material" that makes up music and the musical work. The nature of music's materiality is in fact a central pillar of Hanslick's argument, which draws on the abundant literature of the 1840s and 50s promoting scientific materialism and on what might be described as an Aristotelian conception of matter. Hanslick's goal, however, was not to deny idealism, but rather to negotiate a middle ground between idealism and materialism, thereby reconciling a prevailing conception of music's metaphysical status with the physical properties of matter. This is most clearly observed in his carefully crafted conception of the musical "tone," which unites the inner world of thought and the external world of nature. Hanslick's somewhat ironic use of a materialist framework to demonstrate music's inherent ideality betrayed a desire not only to attune musical aesthetics with the latest materialist theories, but also to preserve art music's exclusivity. On the Musically Beautiful is perhaps best understood not as an unequivocal case for formalism but as evidence of the complex ways in which mid-century tensions between idealism and materialism informed German musical discourse.
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Dönmez, Damla. "Collingwood and ‘Art Proper’: From Idealism to Consistency." Estetika: The European Journal of Aesthetics 52, no. 2 (November 25, 2015): 152. http://dx.doi.org/10.33134/eeja.137.

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Weir, Simon, and Jason Anthony Dibbs. "The Ontographic Turn: From Cubism to the Surrealist Object." Open Philosophy 2, no. 1 (September 18, 2019): 384–98. http://dx.doi.org/10.1515/opphil-2019-0026.

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AbstractThe practice of Ontography deployed by OOO, clarified and expanded in this essay, produces a highly productive framework for analyzing Salvador Dalí’s ontological project between 1928 and 1935. Through the careful analysis of paintings and original texts from this period, we establish the antecedents for Dalí’s theorization of Surrealist objects in Cubism and Italian Metaphysical art, which we collectively refer to as ‘Ontographic art,’ drawing parallels with the tenets of Graham Harman’s and Ian Bogost’s object-oriented philosophical programmes. We respond to the question raised by Roger Rothman concerning Object-Oriented Idealism in Dalí’s work by showing pivotal changes to Dalí’s ontological outlook, from Idealism to Realism, across the aforementioned period, positing the Ontographic intentionality of Dalí’s ontological project in Surrealist art.
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Assumpção, Gabriel Almeida. "Filosofia sincrítica e poesia em Friedrich Von Hardenberg [Novalis]; Syncritic philosophy and poetry in Friedrich Von Hardenberg [Novalis]." Sofia 11, no. 1 (July 8, 2022): 37–49. http://dx.doi.org/10.47456/sofia.v11i1.31891.

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Investigamos, no pensamento de Friedrich von Hardenberg (Novalis), como a poesia e filosofia se nutrem uma da outra, sendo a filosofia fonte de conceitos que permitem investigar o dinamismo do mundo natural e integrar os diversos saberes na enciclopédia e a poesia, a capacidade de atingir saberes intuitivos, superando os limites da filosofia. A poesia como capacidade de superar a oposição sujeito-objeto se desdobra na possibilidade de uma concepção não-dualista, neoplatônica de Deus, e na integração entre idealismo e realismo, via filosofia sincrítica, isto é, uma filosofia que aprendeu com a poesia. Também essa forma de arte se nutre da filosofia, para ser completa. Destacamos como Novalis já apresenta muitas intuições que serão encontradas no idealismo alemão: a importância da filosofia da natureza; a identidade entre sujeito e objeto; Deus como razão, ou absoluto; a superioridade da arte em relação à filosofia (como faz Schelling no Sistema do idealismo transcendental); a crítica à filosofia como sistema do Schelling tardio. Abstract We investigate, in Friedrich von Hardenberg’s thought, how Philosophy and poetry nourish one another. Philosophy is a source of concepts that enable the investigation of the natural world and its dynamic character, integrating many sources of knowledge in the encyclopedia. Poetry, on the other hand, reaches intuitive forms of knowledge, inaccessible to Philosophy alone. Poetry as a capacity of overcoming the subject-object opposition unfolds in the possibility of a nondualistic, Neoplatonic conception of God, and also in the integration between idealism and realism, by means of the syncritic Philosophy, i.e., a philosophy that has learnt from poetry. Poetry, on the other hand, can only become complete by means of philosophy. We emphasize how Novalis presents many insights that will be met in German Idealism: the importance of the philosophy of nature; the identity between subject and object; God as reason; art conceived as superior to philosophy (Schelling in the System of Transcendental Idealism); late Schelling’ criticism of philosophy as a system.
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Markov, Alexander V. "FROM IDEALISM TO NEW MARXISM. PART 3. BORIS ASAFIEV." Articult, no. 4 (2021): 110–17. http://dx.doi.org/10.28995/2227-6165-2021-4-110-117.

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Although the merits of the major Soviet musicologist Boris Asafiev to the sociology of art are obvious, usually his system of studying melody and intonation as social phenomena is seen as a problematization of musical art rather than as a stimulus for his own thought. Using the example of Asafiev’s opera criticism from 1914 to 1947, I prove that his sociology of art was a constructivist system that focused on the permanence of implicit aesthetic notions such as manner and style, while allowing for variability in the explicit reference concepts of criticism. The ideological pressure to construct national character and the historical unity of popular life allowed him to reinterpret studio opera as a way of isolating its supra-personal principles, and by asserting the historical and transitory nature of opera art, to protect its sustained rhetorical potential. The unity of the rhetorical and melodic elements of opera, declared by Asafiev to support the work of Prokofiev and Shostakovich, was the dynamic formula that led to the development of a new sociology of art, which can be compared with the current actor-network models.
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Dissertations / Theses on the topic "Idealism in art"

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Cole, Brendan. "The mythic feminine in symbolist art idealism in fin-de-siècle painting." Thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/23189.

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Pilato, Caterina. "The Synthesis of Self: The Matrix of Idealism and The Art of Forgetting." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16421.

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As the human animal is heading towards a post human existence there will be a historical process where the new being will be absent of its authentic history and therefore its animality. This research paper looks at historically human behaviour in its arrogance which has no conscience about that which is destroyed in the pursuit of lifestyle, industry, production and ultimately the dehumanisation of the differing other. As this 'other' is obliterated as the quest for this quasi utopian state, albeit a state of a numbed and programmed existence as a contrived manufactured idealism for human perfection, the human being is reinvented to be used as a commodity of sorts which is controlled to belong to this proposed superior sense of culture. This research paper and art practice looks at the possibility of this kind of dystopian nightmare as man tries to master nature, and there is the morphing and matrix of the creatures animal being with the manufactured high end product, as things go awfully wrong in the post human quest for perfection and supremacy. The problem with humanity's inability to deal with the differing other results in the setting of such restricted standards which creates a cold war of societal disparity. We live in a world where ‘Animals’ have no history yet we as humans never cease to reconstruct our societies and our narcissistic identities, and in this regard we investigate humanity's sense of supreme ontological entitlement in their behaviour as a species. Animal desires and instincts historically have been covertly disguised under the veil of politeness but we must question the moral and ethical dimension of the potential for the post human as our animal desires will not cease but the void of the gloss and wax of societal delusions creates destruction and in its reinvention it is erasing history into a fairytale like past as it is wanting to assert its reinvented ‘being’ as a superior creature in a convoluted hierarchy.
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Boorman, H. "Herwarth Walden and Der Strum 1910-1930 : German cutural idealism and the commercialization of art." Thesis, University of East Anglia, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380948.

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Santos, Cecília Mendonça de Souza Leão. "A Temporalidade do Belo: Caminhos para uma filosofia da arte pós-idealista a partir de Gadamer." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/9651.

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The present paper consists in exploring the philosophical inquiries on aesthetic objects as developed by the german idealist tradition in order to evaluate how Hans-Georg Gadamer ´s take on the subject provides an overcoming of the said tradition. The role played by works of art in the history of philosophical thinking is accurately embodied by “Oldest Programme for a System of German Idealism”, which is profoundly connected to the constuction of modern subjectivity. Under the light of the desconstruction of the category of subject undertaken in the twentieth century, which took shape in the thought of Martin Heidegger, new parameters become necessary in order to properly understand the relationship of mankind with beings that exceed the concept of being “present-at-hand” (Vorhandenes) and manifest themselves as something radically different: the true works of art. Following that trail, we shall demonstrate how articulating a new conception of temporality, specific to the aesthetic being, allows philosophical hermeneutics to understand, by the standards of our own time, what sort of truth is disclosured in artworks. Through the proper regarding of the singularity of the temporal mode of being of artworks, which is given as simultaneity, we will show how works from the past become contemporary before our eyes. Recognizing the temporal mode of art´s existence opens a path for contemporary philosophy of art that by forgoing any normative criteria to define what is art, gains the ability to illuminate the phenomenon of transformation performed by such works in human existence – whether they may belong to the past or to our current time.
O presente trabalho consiste, num primeiro momento, em demonstrar como se deu o desenvolvimento das investigações filosóficas sobre os objetos estéticos dentro do escopo do idealismo alemão, para revelar de que maneira Hans-Georg Gadamer se apropriará desta tradição para superá-la. Defendemos que o papel que as obras de arte adquiriram neste período histórico da filosofia, encarnado com precisão em “O Mais Antigo Programa Sistemático do Idealismo Alemão”, está irrevogavelmente atrelado à construção da subjetividade moderna. Sob a luz da desconstrução da categoria de sujeito empreendida no século XX, que tomou forma no pensamento de Martin Heidegger, tornam-se necessários novos parâmetros para compreender a relação que a humanidade guarda com os entes que, escapando a conceituação de “entes simplesmente dados”, emergem como algo radicalmente diverso: as genuínas obras de arte. No segundo momento de nossa pesquisa, demonstramos como o desenvolvimento de uma nova concepção de temporalidade, própria ao ser estético, a hermenêutica filosófica inaugura a possibilidade de, a partir de nossa própria época, compreender que sorte verdade é desvelada em tais obras. A partir da compreensão da singularidade do tempo dos entes artísticos, dado na forma de uma simultaneidade, mostramos como é possível que a arte do passado se atualize diante de nós. Ao reconhecer o modo temporal da existência da arte, traçamos o caminho de uma filosofia da arte contemporânea que, ao abrir mão de quaisquer critérios normativos para definir o que é arte,ganha a possibilidade de iluminar o fenômeno da transformação que tais obras realizam em nós – sejam elas do passado ou hodiernas.
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Morehouse, Dawn M. "Copley's compromise navigating the discourse of beauty and likeness in colonial Boston /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2008. http://proquest.umi.com/pqdweb?did=1597629701&sid=23&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Potter, Matthew Charles. "The critical turn in British art : the influences of German idealism on British art critics, theorists and practitioners in the late nineteenth century." Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416017.

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Griffin, Daniel. "The Role of Poetry and Language in Hegel's Philosophy of Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/philosophy_theses/90.

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Hegel's view of poetry clarifies the overall role of language in his system and allows him to makes sense of a difficult linguistic issue: how to distinguish between poetry and prose. For Hegel, this distinction is crucial because it illuminates the different ways poetry and prose allow us to understand ourselves as members of an ethical community. In this paper, I argue, using Hegel, that the distinction between poetry and prose can only properly be understood in terms of their fundamentally different kinds of content instead of in terms of any formal differences between the two. Then, I address an objection to Hegel by Paul de Man which uses Hegel's concept of memory to collapse the distinction between poetry and philosophical prose. Finally, I argue that Hegel can respond to this objection by showing how de Man misunderstands how philosophical thought conceptually develops from memory.
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Warrick, Steven. ""Does Your Faith in God and Country Need a Boost?" Reflections of Idealism and Identity and the Art of Bill John Roth." TopSCHOLAR®, 1997. http://digitalcommons.wku.edu/theses/359.

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The life and art of Bill John Roth offer a paradox to the study of folklore and folk art. The personal and public nature of Bill's art is exemplified through his mural Geographic Hieroglyphics In God's Own Handwriting. On the surface the art and artist are seemingly detached from the community, but upon closer investigation this is not the case. I have explored the notion of "outsider" art, the problems associated with artistic interpretation and the difficulties of labelling artists according to academic and elitist standards. Thus the contextual background of the artist and community are important aspects of this study and of any study concerned with the nature and process of creativity. The final product is not the only standard by which folk art should be judged. The ideas and thought processes behind the objects are what really contribute to the nature of the finished product. The purpose of this thesis is to use Bill's art as an example of the complexity involving the conflict between individual creativity and community tradition. Is this solely the artwork of an individual artist or work that represents involvement in the community? Through observation, analysis, tape-recorded interviews and public performances of identity, I have concluded that Bill's art is a product of community involvement. While his work challenges the traditional notions of folk art, it is contextually folkloric in nature.
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Vines, Jacob L. "Encounters with the American Prairie: Realism, Idealism, and the Search for the Authentic Plains in the Nineteenth Century." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2511.

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The Great Plains are prevalent among the literature of the nineteenth century, but receive hardly a single representation among the landscapes of the Hudson River School. This is certainly surprising; the public was teeming with interest in the Midwest and yet the principal landscape painters who aimed to represent and idealize a burgeoning America offered hardly a glance past the Mississippi River. This geographical silence is the result of a tension between idealistic and empirical representations of the land, one echoed in James Fenimore Cooper’s The Prairie, Washington Irving’s A Tour on the Prairies, and Margaret Fuller’s Summer on the Lakes, in 1843. Margaret Fuller’s more physical and intimate Transcendentalism unifies this tension in a manner that heralds the rise of the Luminists and the plains-scapes of Worthington Whittredge.
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Silva, Lucas Eduardo da. "Estética e contemporaneidade: por uma outra filosofia da música nova." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-22092016-144019/.

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Com a finalidade de propor uma abordagem filosófica em torno de diversos problemas atuais da estética musical, em especial buscando identificar e situar uma crise existente na sua elaboração disciplinar, serão lançados nesta tese estudos sobre a problemática relação da estética com outros campos do conhecimento, tanto aqueles vinculados às ciências empírico-matemáticas quanto às ciências humanas. Questões centrais sobre a relação entre as artes e a filosofia, sobre o papel e a situação do esteta moderno, e sobre as tendências da composição musical contemporânea também serão abordadas, sempre no intuito de apresentar possibilidades epistemológicas para uma nova estética musical que sejam consubstanciais aos problemas das artes e da música contemporânea, bem como elementos para definições de arte e da música que sejam alternativas à histórica pregnância na modernidade do pensamento de vanguarda. Para tanto, esta tese se divide em quatro grandes ensaios, pretendendo-se que possam ser tomados, para além de sua unidade temática e estrutural, também isoladamente.
In this dissertation, studies about the problematic relationship of aesthetics with other fields of knowledge, as those bound to empirical-mathematical sciences as well to human sciences, will be launched with the goal of proposing a philosophical approach around various current musical aesthetics problems, specially aiming to identify and to situate an existent crisis in its disciplinary elaboration. Main questions about the relation among arts and philosophy, about the role and situation of the modern aesthete, and about trends of contemporary musical composition will be broached as well, always intending to present epistemológical possibilities to a new musical aesthetics that are consubstantial to the problems of arts and contemporary music, as well as elements for definitions of art and music which may be alternative to historical impression of modernity on avant-garde thinking. Therefore, this dissertation is divided in four great essays, with the intention that they may be taken, over and above its thematic and structural unit, also separately.
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Books on the topic "Idealism in art"

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Burnichon, Marie-Cécile, and Nicholas Frank. Spatial city: An architecture of idealism. Milwaukee, WI: Institute of Visual Arts (Inova) at the University of Wisconsin-Milwaukee, 2010.

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1938-, Wandschneider Dieter, ed. Das Geistige und das Sinnliche in der Kunst: Ästhetische Reflexion in der Perspektive des Deutschen Idealismus. Würzburg: Königshausen & Neumann, 2005.

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1938-, Wandschneider Dieter, and Rheinisch-Westfalische Technische Hochschule Aachen. Philosophisches Institut., eds. Das Geistige und das Sinnliche in der Kunst: Asthetische Reflexion in der Perspektive des Deutschen Idealismus. Wurzburg: Konigshausen & Neumann, 2005.

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Martin, Timo. From idealism to real time: 125 years art and business. Keuru: Otava, 1987.

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Marta, Ottlová, and Ústav teorie a dějin umění ČSAV v Praze., eds. Proudy české umělecké tvorby 19. století: Sen a ideál. Praha: Ústav teorie a dějin umění Československé akademie věd, 1990.

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Michel, Draguet, and Musée de l'art wallon, eds. Splendeurs de l'Idéal: Rops, Khnopff, Delville et leur temps. [Gent]: Snoeck-Ducaju & Zoon, 1996.

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Greenwood, Geoffrey. The cultural evolution of man: Language, art, religion, socialism, capitalism, idealism, materialism. London: Avon, 1997.

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Riccardo, Marchi, ed. Idealismo e naturalismo nella scultura e nella pittura gotica. Milano: FrancoAngeli, 2003.

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McCracken, John. McCracken: Heroic stance, the sculpture of John McCracken, 1965-1986. Edited by Leffingwell Edward G, Ayres Anne 1936-, P. S. 1. Museum, and Newport Harbor Art Museum. Newport Beach, Calif: Copublished by Newport Harbor Art Museum, P.S. 1, the Institute for Art and Urban Resources, Inc., Hoffman Borman Gallery, 1987.

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Bénédite, Léonce. Gustave Moreau et E. Burnes-Jones: L'idéalisme en France et en Angleterre. La Rochelle: Rumeur des âges, 1998.

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Book chapters on the topic "Idealism in art"

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Ezekiel, Anna. "Art." In The Palgrave Handbook of German Idealism and Poststructuralism, 239–58. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-27345-2_12.

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Speight, Allen. "Hegel on Art and Aesthetics." In The Palgrave Handbook of German Idealism, 687–703. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1007/978-1-137-33475-6_34.

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Shaw, Devin Zane. "The “Keystone” of the System: Schelling’s Philosophy of Art." In The Palgrave Handbook of German Idealism, 518–38. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1007/978-1-137-33475-6_26.

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Vincent, Andrew. "Idealism and Hedonism." In Politics at the Edge, 105–18. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780333981689_8.

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Willson, Richard. "Career Plans Are Useless." In A Guide for the Idealist, 87–104. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315111193-6.

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Millett-Gallant, Ann. "Sculpting Body Ideals." In The Disabled Body in Contemporary Art, 51–81. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230109971_3.

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Millett-Gallant, Ann. "Sculpting Body Ideals." In The Disabled Body in Contemporary Art, 35–58. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-48251-9_3.

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Väyrynen, Raimo. "Peace Research Between Idealism and Realism." In Pioneers in Arts, Humanities, Science, Engineering, Practice, 267–78. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13627-6_10.

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Singer, Peter. "All Animals Are Equal." In Ideals and Ideologies, 453–63. Eleventh Edition. | New York : Routledge, 2019. | “Tenth edition, published by Routledge, 2017”—T.p. verso.: Routledge, 2019. http://dx.doi.org/10.4324/9780429286827-73.

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Mendelssohn, Moses, Daniel O. Dahlstrom, and Corey Dyck. "Continued dispute with the pantheists. – Approximation. – Point of unison with them. – Innocuousness of the purified patheism. – Compatibility with religion and ethics insofar as they are practical." In Studies in German Idealism, 83–90. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-94-007-0418-3_14.

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Conference papers on the topic "Idealism in art"

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Rabaça, Armando. "The Philosophical Framework of Le Corbusier's Education: Schuré and German Idealism." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.671.

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Abstract: This paper seeks to demonstrate that Le Corbusier's autodidactic agenda between 1908 and 1911 reflects a consistent philosophical reasoning based on the philosophical tradition of German idealism. The vehicle of analysis is the connection between Édouard Schuré's 'Sanctuaires d'Orient', a book Le Corbusier read in 1908, and three key episodes of the subsequent period of travel. Schuré's book provides us with the philosophical framework to which he was exposed. The three episodes, in turn, are taken as case studies in order to demonstrate the correlation between the philosophical background of the book and Le Corbusier's changing attitudes during this period. The terms of this correlation are based on an evolutionary conception of history and can be synthesized as the belief in cultural progress, leading to a new society built upon the unity of science, religion and art, in a secular-sacred life attained through the recovery of a pantheistic existence, and in art and architecture as a means to an epistemological experience. I will lastly argue that this creates the basis for the lifelong influence of idealism in Le Corbusier's work and thought. Keywords: Le Corbusier's Education; Schuré; German Idealism; Romanticism. DOI: http://dx.doi.org/10.4995/LC2015.2015.671
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Li, Yongxue, and Chengxu Ye. "An Ass Struggling between Idealism and Naturalism. A New Interpretation of qThe Assq by D. H. Lawrence." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.76.

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Dimitrakopoulou, Georgia. "THE CONFLICT BETWEEN ENERGY AND URIZEN. BLAKE�S ALIENATED REASON AS THE SOURCE OF OPPRESSION IN THE HUMAN MIND AND IDENTITY." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/fs10.17.

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In my paper, the version of Urizen�s creation and existence particularly refers to/concerns the contrast/conflict between energy and reason. In Blake�s mythological system, Urizen is a false God which represents the distortion of truth and concerns the pragmatic, unspiritual apprehension, and appreciation of the mundane world as a creation of falsity which must be accepted by humans in order to survive, to secure life and multiply. Urizen creates and lives in an alienated and enslaving realm, a distorted mental state which is detached from God�s truth. Personified in Urizen, the human reason is false consciousness and derives from impure energy. Urizen is an abstraction of the human self. It is the �holy� God of pragmatism in real life. The [First] Book of Urizen presents Blake�s ideas about human error, false consciousness and its aftermaths. The book is an exposition of man�s slavery to a false God and miscommunication with divinity. Miscommunication is the result of reason�s interpolation, suppressed desires and illusory delight. Los, the universal man, the eternal prophet is a false prophet who must acquire true consciousness and humane identity. The estranged, isolated, and false human self must realize his self-delusion and renounce this false God, so as to embrace truth and authenticity. Consequently, believing in this false God man is not an artist and his mundane work has no quality and value. Art, which is communication, is distorted by the human urizenic, false identity. Reason, the reasoning power, rationalization is unable to shape life artistically because Urizen, as a false God hinders genuine creation. Art is an internal discourse of active communication which is based on pure energy and intellectual beauty. Urizen has no position in this discourse because it disrupts the artistic vision and produces false art. Urizen represents inartistic ugliness. It is the representation of error, the devourer and degraded intellect. Urizen is considered Blake�s negative aesthetic and represents the aesthetic category of the ugly. It is also Blake�s aesthetic realism, the �negative sublime� of his aesthetic vision and stands in juxtaposition with his aesthetic idealism. Thus, in Blake�s aesthetics there are two different aspects of the sublime, its negative and positive forms. Urizen being Blake�s negative aesthetic, is a separate category which juxtaposes with the �Sublime of Imagination� and completes his aesthetic vision. Although aesthetic realism is necessary to offer a complete depiction of Blake�s sublime, it is not the vision of beauty and spirituality. Nevertheless, it is essential to supplement Blake�s aesthetics.
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Dimitrakopoulou, Georgia. "WILLIAM BLAKE�S AESTHETICS IN THE MYTH OF THE ANCIENT BRITONS." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.16.

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William Blake�s aesthetic vision of the secular world is based on divine inspiration. In the myth of The Ancient Britons, he discusses the three aesthetic categories of the sublime, the beautiful and the ugly. These establish his theory of art, which is based on Jesus the Imagination. The sublime, the beautiful and the ugly are forms indicative of gradations of divine influx in every individual. In this sense, the myth explicitly describes and distinguishes the three aesthetic categories that shape the secular and eternal human existence. It also concerns art and the role of the artist. Art is imagination and communication, and the artist is the inhabitant of that happy country of Eden. [1]. The artist is motivated by creative imagination, whose aesthetic quest starts from divine inspiration and ends in eternity. The true artist is the man of imagination, the poetic genius and the visionary aesthete. For Blake, imagination is a sublime force, the major aesthetic category of his vision and relates to the Strong man of The Ancient Britons. In addition, beauty is a distinct aesthetic category essential and supplementary to the formation of the Sublime of Imagination, Jesus incarnated, the archetype of Blake�s Strong man. He [Blake] distinguishes the three aesthetic categories of the sublime, the beautiful and the ugly by their actions, which define man. As he claims: �The Beautiful man acts from duty, whereas The Strong man acts from conscious superiority, and The Ugly man acts from love of carnage.� [2]. Starting from the conviction that antiquity and classical art provided obsolete models for emulation, Blake concluded that since the mathematic form is not art, it should not be the rule of the English eighteenth century art. Gothic, which is the living form, represents the union of the secular and divine worlds. The gothic artistic style is the incarnated Jesus, the Sublime of Imagination, Blake�s aesthetic apex, that is the supreme aesthetic category of his vision. The sublime and the beautiful are not contraries. They are supplementary aesthetic forms which contribute to the understanding of art. Beauty and intellectuality identify. Moreover, beauty is the power, the energizer of the true artist. Who is the human sublime? He is �The Strong man� who acts from conscious superiority, according to the divine decrees and the inspired, prophetic mind. Who is �The Beautiful man�? He is the man who acts from duty. Lastly, �The Ugly Man� is the man of war, aggressive, he/she acts from love of carnage, approaching to the beast in features and form, with a unique characteristic, that is the incapability of intellect. [3]. Undoubtedly, Blake�s aesthetic vision presents many difficulties in interpretation. In my opinion, the sublime is not an aesthetic category and/or a mere value that Blake uses randomly without artistic reference. His aestheticism is secular and aspiring to perfection. The secular sublime, which describes the fallen human state, suggests the masculine and feminine experience of the Fall. Consequently, the human situation appears doomed and irredeemable. If the sublime is the masculine and pathos the feminine forms, Blake assumes that the inevitability of reasoning and suppression of desire, whose origin is energy, brings about their separation and incompleteness. In a non-communicative intercourse, the sublime (masculine) and the beautiful (pathos) are apart. These are the fallen state�s consequences. As the masculine and feminine are not contraries but supplementary forms, so the sublime and pathos are potentially integrated entities. In eternity, the sublime and pathos are joined in an intellectual androgynous form. This theoretical idea is the core of Blake�s aesthetic �theory�. In fact, his aesthetic realism does not overlap his aesthetic idealism. He is optimistic, despite Urizen�s - reason�s predominance. The artist is the model of human salvation. Imagination is a redemptive force, �Exuberance is Beauty�, and the incapability of intellect is �The Ugly Man�. The three classes of men, the elect, the redeemed and the reprobate juxtapose to the sublime, beautiful and ugly. These are restored to their true forms and their qualities are reinstated in infinity. All human forms are redeemable states, not static but progressive, even if their fulfilment on earth is improbable.
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Frances Dias, Sarah, and Maria João Durão. "Architecture and Art: La Ronchamp’s symbiosis as a ‘total work of art’." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.612.

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Abstract: Le Corbusier developed his own unique poetics of architecture, perceived and understood as an art. In La Ronchamp, due to his complete creative freedom, he found a space to express his most poetic and artistic views. The research paper thus analysis the Chapel as a case study, in order to clarify Corbusier’s artistic and architectural vision, ideals and driving principles: drawing firstly from the architectural characteristics that define the space, secondly defining an integrated set of principles that conceptualize the architecture as an art, and lastly, an analysis of the particularities that compose the chapel as a ‘total work of art’, analyzing the union of the arts, both in concept, form and meaning, and in the overall context of Corbusier’s unqiue theory. Thus, the research paper aims to understand and uncover how the poetics and emotional condition lives through Ronchamp: the meaning it encases, the artistic values is sustains and the timeless ways it recreates. The overall study has both practical and theoretical applications and implications for architects and artists with an interest in the integration of art and architecture, as well as the conceptual connections between the arts; a vital issue in the contemporary world for the definition of a more meaningful and sustainable environment. Keywords: Art, Architecture, Le Corbusier, Principles, Poetry, Emotion. DOI: http://dx.doi.org/10.4995/LC2015.2015.612
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Didmanidze, Ibraim, and Irma Bagrationi. "INFORMATION PARADIGMS OF ART FROM THE HISTORY OF SOCIAL AESTHETICS." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s07.06.

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The present scientific paper deals with the worldview understanding of features of information and communication functions of art according to the �Theory of Environment� and �Conception of Organotropism� from the history of Europeanworldview philosophical and aesthetic thought, particular: According to the main principle of Social Aesthetics of French philosopher and sociologist Jean-Marie Guyau [in the work �Problems of Contemporary Aesthetics�] the aesthetic ideal of art has a meaning by presentive only social sympathy aesthetics; A German philosopher and aesthetician Alexander Gottlieb Baumgarten discusses the highest aesthetic value of art by social point of view [in the work �Aesthetics�], supports the main principle of his theory of art � life reaches its highest intensity in the socium as cooperation and collaboration and communication and in order to make it solid, it must deserve social sympathy � and unchangeably takes it into his theory of aesthetics. A famous French philosopher, thinker, writer, historian, one of the leaders of the French Enlightenment Francois Marie Arouet de Voltaire, French sociologist Charles de Montesquieu, German historian and theorist of art Johann Joachim Winckelmann, German philosopher, man of letters and critic Johann Gottfried Herder, English aesthetician and critic of art John Ruskin, German philosopher, founder of the philosophy of dialectical and historical materialism Karl Marx, French idealist philosopher, historian and theorist of art Hippolyte-Adolphe Taine by their original and completely social-aesthetic doctrine consider phenomenon of art by Organotropic formula that means they outline the peculiarities of the information function of art is pre-defined with some social conditions, especially geographic, geologic, climatic, biologic, social, political, cultural and historical factors. As it is seen from the paper, these are selected models of some searching aesthetic paradigms that have been identified to suggest that information content and status of the artistic creation works for the peculiar and special level of social condition and situation.
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URSACHI, Rodica. "Art as an end and means of education." In Ştiință și educație: noi abordări și perspective. "Ion Creanga" State Pedagogical University, 2023. http://dx.doi.org/10.46727/c.v3.24-25-03-2023.p172-177.

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One of contemporary society’s acute problem is moral state of its members, which needs a perfecting through permanent education of ethic standards. Art, as other domain, tackles this problem, but from its own view point. It reflects different moral ethic ideals during its development stages, which influence conscience of respective epoch people. In this way, art presents it self in double hypostasis – to reproduce the moral state of human society in a certain historical moment, and to help the speading of ethic ideas that will contribute to its spiritual education and development. The work of art becomes an object of study for the general viewer and requires him to mobilize his intellectual faculty to understand the proposed „message”. Art is the privileged way to remove man from the conflict zone of life, caused by various historical and social factors. Existential drama, expressed through moral suffering, is present in various genres of art with an emphasis on historical, religious composition, etc., but it is also avoided by artists who paint static natures, landscapes, nudes. Artists of the contemporary period, captivated by plastic and non-figurative technological effects, avoid analyzing the current social impact, rediscovering moral and ethical values and reflecting them in his work.
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Bunu, Ion, and Olga Chicu. "On Rings For Which Some Pretorsions Are Cohereditary." In 27th International Scientific Conference “Competitiveness and Innovation in the Knowledge Economy”. Academy of Economic Studies of Moldova, 2024. http://dx.doi.org/10.53486/cike2023.68.

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A ring R is characterized by the pretorsions of the category R-Mod of left R-modules: R is completely reducible if and only if z(R)=0 and every pretorsion r>z is cohereditary, where z is a pretorsion of R-Mod, defined by essential left ideals of R.
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Ishomuddin, Mr. "From Idealism-Rationalism to Pragmatism-Materialism: Shift in Understanding Religion to Islamic Society in East Java, Indonesia." In 2018 3rd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/amca-18.2018.190.

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Abel, Mati, and Krzysztof Jarosz. "Topological algebras in which all maximal two-sided ideals are closed." In Topological Algebras, their Applications, and Related Topics. Warsaw: Institute of Mathematics Polish Academy of Sciences, 2005. http://dx.doi.org/10.4064/bc67-0-3.

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Reports on the topic "Idealism in art"

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Stratton, R. A., and A. J. Stirling. Examining the dynamical response to convective heating using an idealised version of the Met Office’s Unified Model. Met Office, May 2024. http://dx.doi.org/10.62998/ouao1203.

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In global circulation models, poor coupling between convection parametrizations and the resolved dynamics poses significant obstacles to the representation of a range of convectively coupled atmospheric phenomena. Here we focus on one part of this coupling and ask whether the dynamical response to convection can adequately be captured when convection is parametrized only as heat and moisture sources to the resolved scale, (as is usually the case in convection parametrizations), and without including either mass, or vertical momentum transport terms. To this end, a ‘perfect’ convection parametrization is constructed under idealised conditions, for which the inputs of heat and moisture are derived by coarse-graining higher-resolution reference simulations of convecting plumes. The dynamical response of the ‘perfect’ parametrization is then compared with that of the reference simulation. These experiments are conducted using the Met Office Unified Model running with a horizontal resolution of 30 km in a quiescent atmosphere and show that, provided the heating is applied regularly over short (five minute) time intervals, in a dry model a very similar resulting dynamical response can be obtained, without the need for additional mass transfer or momentum terms. In a wet model, the agreement remains good, with differences of no more than 20% developing. If, however, the heating is applied intermittently, such that only the time-averaged heating is correct (as can be the case when using a CAPE-closed convection scheme), the dynamical response is significantly disrupted, and we conclude that this is likely to be a major contributor to the difficulties in representing convectively-coupled atmospheric phenomena in the Unified Model.
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Ballard, Richard, Christian Hamann, and Ngaka Mosiane. Spatial trends in Gauteng. Gauteng City-Region Observatory, 2021. http://dx.doi.org/10.36634/lmwn5165.

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This Occasional Paper considers six spatial trends in Gauteng. Notwithstanding intentions by the state to direct spatial transformation for the better, these trends are the physical manifestation, for better or worse, of a remarkable variety of actors responding to a wide variety of opportunities, incentives and disincentives. While it might be possible to name post-apartheid urban ideals, these six trends underscore the disbursed nature of energies that are producing urban space, and the need to understand and work with these energies as we find them in directing spatial transformation.
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Goode, Kayla, and Heeu Millie Kim. Indonesia’s AI Promise in Perspective. Center for Security and Emerging Technology, August 2021. http://dx.doi.org/10.51593/2021ca001.

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The United States and China are keeping an eye on Indonesia’s artificial intelligence potential given the country’s innovation-driven national strategy and flourishing AI industry. China views Indonesia as an anchor for its economic, digital, and political inroads in Southeast Asia and has invested aggressively in new partnerships. The United States, with robust political and economic relations rooted in shared democratic ideals, has an opportunity to leverage its comparative advantages and tap into Indonesia’s AI potential through high-level agreements.
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Yilmaz, Ihsan. The AKP’s Authoritarian, Islamist Populism: Carving out a New Turkey. European Center for Populism Studies (ECPS), February 2021. http://dx.doi.org/10.55271/op0005.

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The global tide of populism will leave a profound mark on Turkey. The ruling Justice and Development Party’s (AKP) success during the past two decades, has hinged on Islamist authoritarian populism and been driven by its long-time leader, Recep Tayyip Erdogan. “New Turkey” is now a reality. The AKP has been successful at dismantling the Kemalist ideals – ironically, perhaps, by using similarly repressing techniques, such as cracking down on civil liberties and democratic rights.
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Lylo, Taras. THE MISSION OF A JOURNALIST IN THE ESSAYISTIC INTERPRETATIONS BY OLEGARIO GONZÁLEZ DE CARDEDAL. Ivan Franko National University of Lviv, March 2024. http://dx.doi.org/10.30970/vjo.2024.54-55.12156.

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The article analyzes Olegario González de Cardedal’s views on journalistic mission, that he interprets as a “ministry”. For him, a journalist is the minister of the word, the creator and the interpreter of events, the spokesperson of human being and the witness of human hope. For the Spanish Catholic theologian and author, the newspaper is both “structure and soul”. He believes that media is something more than an ordinary profitable enterprise and interprets journalism as a “spiritual ministry”. A prerequisite for the true ministry is the hierarchical system of values. In this context, for González de Cardedal the most important are “decisive values”, “permanent priorities”, from the positions of which one should think. He also defines two main ideals of mass communication: the development of nobility and the strengthening of freedom. In addition, Olegario González de Cardedal emphasizes such features of a journalist as the devotion to the truth, the respect for facts, the professional cognition of the order of reality, the empathy and the freedom in relation to the powerful of this world. Moreover, the essayist pays special attention to the need for a more targeted approach to the coverage of international events. Olegario González de Cardedal believes that a reader first of all looks in a newspaper not only for what helps him get closer to the people who live nearby, but also to those ones who live far away. This, in his opinion, is a necessity at a time when information is a source of orientation in the struggle for existence, especially at a time of integral challenges that make geographical distances relative. “Human life has already reached cosmic proportions, and we cannot be human without being neighbors. Even through a provincial newspaper, great events of the world must travel: its landscapes, its people, its destinies...” Recognizing the fact that all newspapers are fundamentally local, however, the thinker notes, they must all build a common consciousness, convince of the common purpose and hope. Keywords: journalistic mission, newspaper, values, ideals of communication, freedom.
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Ivanyshyn, Petro. BASIC CONCEPTS OF YEVHEN MALANIUK’S NATIONAL-PHILOSOPHICAL INTERPRETATION: ESEISTIC DISCOURSE. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11070.

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The purpose of the research is to outline the structure of the main methodological ideas within the frames of interpretive thinking in the essay of the famous Vistnyk’s writer, critic and essayist Yevhen Malaniuk. Considering the purpose and tasks of the studio, an interdisciplinary methodological base, related to the author’s “national approach”, has been worked out. The epistemological potential of national philosophy as a philosophy of national existence, national science as a theory of nation, hermeneutics as a theory and practice of interpretation and post-colonialism as interpretation of cultural phenomena from the standpoint of anti- and post-imperial consciousness are used in the work. The scientific novelty is that on the basis of the previous hermeneutic generalization and definition of national-existential methodology, a propaedeutic outlining of the structure of national-philosophical concepts within the frames of the essayistic interpretation of reality in Ye. Malaniuk is proposed. In the methodological sense, the writer’s essayism is structured by such concepts as nation-centrism, idealism, voluntarism, heroism, and can be considered as one of the variants (close by the experiences of D. Dontsov, Yu. Lypa, M. Mukhyn, etc.) of the Vistnyk’s national-philosophical (national-existential, nationalistic or nation-centric) hermeneutics, that is, the way of understanding, which the author by himself outlined as a “national approach”. The support of Ye. Malaniuk as a culture-philosopher and exegete on the eternal nation-centric values and criteria in his essayistic studies makes his reflections not only historically interesting, but also theoretically productive, classically important for the development of modern Ukrainian hermeneutics and humanities in general.
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Hellström, Anders. How anti-immigration views were articulated in Sweden during and after 2015. Malmö University, Malmö Institute for Studies of Migration, Diversity and Welfare (MIM), 2021. http://dx.doi.org/10.24834/isbn.9789178771936.

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The development towards the mainstreaming of extremism in European countries in the areas of immigration and integration has taken place both in policy and in discourse. The harsh policy measures that were implemented after the 2015 refugee crisis have led to a discursive shift; what is normal to say and do in the areas of immigration and integration has changed. Anti-immigration claims are today not merely articulated in the fringes of the political spectrum but more widely accepted and also, at least partly, officially sanctioned. This study investigates the anti-immigration claims, seen as (populist) appeals to the people that centre around a particular mythology of the people and that are, as such, deeply ingrained in national identity construction. The two dimensions of the populist divide are of relevance here: The horizontal dimension refers to articulated differences between "the people", who belong here, and the "non-people" (the other), who do not. The vertical dimension refers to articulated differences between the common people and the established elites. Empirically, the analysis shows how anti-immigration views embedded in processes of national myth making during and after 2015 were articulated in the socially conservative online newspaper Samtiden from 2016 to 2019. The results indicate that far-right populist discourse conveys a nostalgia for a golden age and a cohesive and homogenous collective identity, combining ideals of cultural conformism and socioeconomic fairness.
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Berger, J. M. A Paler Shade of White: Identity & In-group Critique in James Mason’s Siege. RESOLVE Network, April 2021. http://dx.doi.org/10.37805/remve2021.1.

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Discussions of extremist ideologies naturally focus on how in-groups criticize and attack out-groups. But many important extremist ideological texts are disproportionately focused criticizing their own in-group. This research report will use linkage-based analysis to examine Siege, a White nationalist tract that has played an important role shaping modern neo-Nazi movements, including such violent organizations as Atomwaffen Division and The Base. While Siege strongly attacks out-groups, including Jewish and Black people, the book is overwhelmingly a critique of how the White people of its in-group fall short of Nazi ideals. Siege’s central proposition—that the White in-group is disappointing, deeply corrupt, and complacent—shapes its argument for an “accelerationist” strategy to hasten the collapse of society in order to build something entirely new. Finally, this report briefly reviews comparable extremist texts from other movements to draw insights about how in-group critiques shape extremist strategies. These insights offer policymakers and law enforcement tools to anticipate and counter violent extremist strategies. They also highlight less-obvious avenues for potential counter-extremist interventions and messaging campaigns.
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Hunia, Maraea, John Huria, and Lorraine Spiller. Ready for partnership? A tool for creating written and visual texts in Aotearoa New Zealand. NZCER, July 2024. http://dx.doi.org/10.18296/rep.0058.

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Ready for Partnership? will help you to create written or visual texts which welcome ākonga Māori. We hope that this tool will give you ways of reflecting on texts as you create them, before you then go on to do further work with kaupapa Māori colleagues. Ready for Partnership? has two sections. Section 1 provides seven lenses which focus on the ways in which we’re using various Māori cultural perspectives when creating texts, and Section 2 presents some annotated examples which show how the tool may be used. Ready for Partnership? is for use in the early stages of creating texts. By using this tool to develop text, we can increase the likelihood that the text will engage a diverse group of Māori students. We will avoid the risk of focusing our texts on any one essentialised or idealised Māori subgroup. This tool will enable us to begin creating a range of texts which in sum are culturally relevant to all children and which reflect the value of mātauranga Māori—to date, this has often not been the case. As creators of texts and users of this tool, we come from a complex array of cultural positions. These cultural positions include: • ages • genders • whakapapa • inherited and learnt cultural knowledges • education backgrounds • physical locations • socioeconomic milieux. We think that this tool will help us all move beyond our own cultural complexities. The users of our texts are similarly complex. We can use the lenses in this tool to focus on welcoming and engaging diverse ākonga Māori, excluding as few as possible, and validating all.
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10

Menon, Shantanu, Kushagra Merchant, Devika Menon, and Aruna Pandey. Youth for Unity and Voluntary Action (YUVA): Instituting an ideal. Indian School Of Development Management, March 2023. http://dx.doi.org/10.58178/2303.1021.

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This case study traces the journey of Youth for Unity and Voluntary Action (YUVA), an NGO which was co-founded in Mumbai (erstwhile Bombay) in 1984 by a young graduate Minar Pimple along with a group of his lecturers and peers from the Nirmala Niketan College of Social Work, together looking to evolve an indigenous model of social work practice. To say that times have changed in India since YUVA’s inception 38 years ago would be an understatement. Despite this, the organization’s spirit continues to echo its founding purpose and values, and provide a space in which the most marginalised of young and like-minded people can come together, understand their rights and responsibilities as citizens, and work together towards shared ideals. Even today, the majority of the people who work with YUVA (meaning “youth”) come from marginalised backgrounds. Such talent composition is not the norm, even in civil society. Seeded with feminist ideals—in particular that of nurturing a careful and life-long sensitivity for the socio-politically marginalised, and standing by them in their strive for social justice—YUVA’s historical record is a statement of how a steadfast commitment to principles can eventually find home in a settled and satisfying practice. This case study lays out both what that historical record speaks and what it speaks between the lines. What the record directly speaks of is the radical milieu in which YUVA came into being, how it became a significant civil society presence in its own right, how it multiplied new initiatives, and how it underwent a difficult leadership transition and financial stresses, yet strived hard to remain relevant. Between the lines, the record hints at how an alert, attuned and active academic milieu constitutes a real treasure—a reminder that perhaps seems appropriate for the times; and narrates the story of how a feminist organization deeply committed to social justice operates from the inside, of the people who make it and how they make and remake it. organizations of this nature have an important place in the annals of Indian civil society but have not received a proportionate space within the documented field of organizational development and talent management. This case study provides an opportunity for learners to explore the idea, relevance and practices of a feminist organization, through the travails and triumphs of one of the oldest ones in India.
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