Academic literature on the topic 'Modern Art – 20th century – Themes'
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Journal articles on the topic "Modern Art – 20th century – Themes"
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Ulicka, Danuta. "Między światami. Rzeczywistość w literaturze – literatura w rzeczywistości – rzeczywistość literatury." Przestrzenie Teorii, no. 28 (May 8, 2018): 21–75. http://dx.doi.org/10.14746/pt.2017.28.1.
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The author attempts to reconstruct a short history of modern Polish literary studies not from the perspective of schools or methodological orientations that are usually applied, but from the perspective of what is known in sociology as cultural themes. This point of view offers the opportunity to (re)construct the process of continuity /discontinuity in the whole field of research focused on the problem of reference, which has been recognized as the most important one in Polish studies (as well as in Polish literature, and art) since its beginning in the first decade of the 20th century. In the broader scope the article attempts to rearticulate the definition of the discipline conventionally called “the theory of literature”, and to propose a new way of writing its history.
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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.
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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Rita, Annabela, and Zuzana Burianová. "Apresentação - Dossiê Temático." e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes, no. 09 (December 29, 2022): 9–13. http://dx.doi.org/10.53943/elcv.0222_09-13.
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Literature, like other art forms, has always served an instrument for resistance, which through various discursive strategies responds to manifestations of oppression, despotism and dogmatism of various kinds. Above all, 20th century literary production — a century that witnessed a proliferation of dictatorships and authoritarian regimes, armed conflicts, wars and genocides, despite humanity's extraordinary progress in multiple areas — was marked by a strong sense of social, cultural or political engagement, which also extends to literary creation in the 21st century. Also in the Portuguese-speaking countries, one of the recurrent themes in modern and contemporary literary production has been the criticism towards the arbitrariness by authoritarian governments, as is the case of the Salazar regime — which stifled Portuguese society for over forty years and prolonged colonial exploitation in Africa — and by the dictatorial regimes established in the second half of the last century in Brazil and other Latin American countries. The aim of this dossier is to present some expressions of critical thinking on the literary production that deals with this subject. Therefore, eight studies devoted to the analysis of works by Portuguese and Brazilian authors who, at different times and through different forms of expression, reacted against authoritarian tendencies in Lusophone societies are gathered here.
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Rasmussen, Leah. "Curating Russia: The Shchukin Collection, Nationalism, and Border Crossing from Lenin to Putin." Canadian Journal of European and Russian Studies 15, no. 1 (September 20, 2022): 43–60. http://dx.doi.org/10.22215/cjers.v15i1.3288.
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Russia’s relationship with nation is marred by contradictions that stem from its place in comparison to the West. Cultural nationalism in artistic production originated with the arrival of the Peredvizhniki [Wanderers] in the 1870s. Moscow merchant Pavel Tretyakov, in collecting Russian and European art, openly embraced a nation that encompassed Western ideas in conjunction with distinctly Russian themes. The unparalleled collecting of French modern art by Moscow merchants Sergei Shchukin and Ivan Morozov in the early 20th century continued this embrace. The nature of their collected paintings produced shockwaves in late tsarist and Soviet society and politics before being inculcated into Russian national identity in the 21st century. This article explores the life of Henri Matisse’s The Dance (1909), commissioned by Sergei Shchukin. It follows the work across time and regimes as it assumes pride of place in not only Russia’s national collections but also within its identity. Through a focus on the 2008 exhibition From Russia at the Royal Academy of Arts in London, this article examines Russia’s relations and protection of this work to understand, why even as the country seeks to define itself once more actively through its opposition to the West, their cultural diplomacy speaks to an openness built on a transnational history of the most prized works in their national collections.
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Gultyaeva, Galina S. "CHINESE NATIONAL PICTURE NIANHUA – A PHENOMENON OF CULTURE OF THE XX CENTURE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 127–38. http://dx.doi.org/10.17223/22220836/41/10.
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Chinese folk painting nianhua (literal translation, “New Year’s picture”) is a kind of Chinese graphic art, which received a wide popularity in the late XIX – early XX centuries. On the eve of the New Year in China everywhere decorated interiors of living rooms with colorful pictures containing New Year’s greetings, they were pasted on windows, doors, gates. Decorative pictures had a utilitarian and cultic purpose: images of mythological characters and gods symbolized happiness, longevity, prosperity, protected from disasters and misfortunes. At the beginning of the 20th century, nianhua was produced in the woodcutting shops in a woodcut way, since the middle of the 20th century have been used modern technologies, including printing. New Year’s paintings significantly different from national academic painting. The philosophical concept of New Year’s painting was to reflect the spiritual life of the people, moral values, and artistic tastes. The images were built on the basis of folklore motifs, a rhythmic combination of bright colors created a decorative effect, so nianhua is a valuable material that demonstrates the aesthetic representations of the Chinese people, their folk traditions and symbols. The themes of the New Year’s paintings are extremely diverse and includes the following: scenes from classical literature, religious and symbolic and benevolent drawings, genre art painting, calendars depicting 12 cyclic signs of animals, agricultural calendars and advertising pictures. During the history of its existence, the New Year’s picture plays an important political and ideological role. Traditional paintings propagated the foundations of the orthodox Confucian ideology about social and ethical relationships, including hierarchy in the family and society: “Wu lun – the five principles of relationships”, “Xiao – filial piety”, “Ren – patience”. In the second half of the XX century, the New Year's picture is developing as an agitational poster. Under the influence of European painting and modern political processes in Chinese society, artists began to use a new artistic method - revolutionary realism on purpose to illuminate sociopolitical events, propagandize government tasks and resolutions. The basic principles of painting the New Year’s picture are the decorative character (the brightness of colors, the rhythmic combination of color spots), the hyperbolism and idealization of images, the folklore basis of plots and the conventional symbolic-metaphoric language.
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Shulgina, O. M. "A.L. Gorbunkov and Iconographic Sources of the Walrus Ivory Carving Art of the Chukchi and Asian Eskimos in the First Third of the 20th Century." Art & Culture Studies, no. 3 (August 2022): 184–219. http://dx.doi.org/10.51678/2226-0072-2022-3-184-219.
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This article traces the history of the establishment and development of the walrus ivory carving art of the Chukchi and Asian Eskimos through the lens of the question of “the far” and “the near”. This question is examined based on a range of sources used by A.L. Gorbunkov, the first art director of ivory carving workshops in Chukotka, during his interaction with local artists. The novelty of the research topic and the introduction of Gorbunkov’s diary entries into scientific circulation prove the relevance of the selected problem, which has not been sufficiently covered in the research literature before. Revealing the materials of the former Scientific Research Institute of Art Industry (NIIKhP), the author attempts to consider the process of the establishment and development of the walrus ivory carving arts and crafts of Chukotka in the first third of the 20th century not in isolation but holistically, taking into account the cultural and historical context and the experience gained by the experts of NIIKhP by the 1930s. The analysis of “the far” (pictures and ornaments on various ritual objects or household items, ancient petroglyphs on a site close to Pegtymel, drawings on walrus skins, materials of ethnographic expeditions, folklore of the peoples of the Far North) and “the near” (among which is the sculpture of American Eskimos and works by a number of American and European artists) origins of the walrus ivory carving art of Chukotka in the 1930s allows representing the genesis of the Chukchi and Asian Eskimo handicraft in the first third of the 20th century and demonstrating the correlation of traditions and innovations in the new phase of this craft. The complex tasks of the research condition the use of the historical, cultural, and chronological approach, the comparative method and formal stylistic analysis. The author comes to the conclusion about the important role of Gorbunkov in the successful combination of traditional and modern trends in the art form under research: based on national artistic practices, Gorbunkov updated the assortment and themes of ivory carving products in accordance with the new demands of the epoch.
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Tulchinskii, G. L. "Man‐Machine and Machine‐Man in Art: Meeting in Digital." Art & Culture Studies, no. 3 (October 2021): 112–27. http://dx.doi.org/10.51678/2226-0072-2021-3-112-127.
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Digitalization has given rise to a substantially new civilizational and existential situation. The mankind development was associated with the creation of collective memory in the form of culture as a system for generating, storing and transmitting social experience, including the creation of an artificial environment. For the main part of history, man likened the world to himself, which made the world understandable. However, over time, the tools and means became less and less anthropomorphic. The world has increasingly become like complex mechanisms. Since the beginning of the 20th century, the relationship between man and machine has become one of the main themes in art. They gave rise to a wide horizon of aesthetic comprehension of this topic: from the pathos of transforming reality (including the person himself) to alarm and horror. However, modern digitalization creates an artificial environment that involves not only the natural environment, but also the biological nature of man. The person himself turns into an artifact. Moreover, under the conditions of digitalization, culture turns into a kind of machine, when reality appears as the realization of a “transcendental” digital code, which acts as an original source for any number of artifacts as its copies. This situation cannot but affect art and aestheticization, which are reduced to the flow of processing digitized data. It is not about new digital technologies in art. It is about changing the format of the entire process of artistic creation and aesthetic reception. A person is transformed from a user of consumption and creativity options into one of the options for a digital mega-machine.
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Lin, Ziye. "The comparative analysis of Gibson girls of 20th century and contemporary females." Highlights in Art and Design 1, no. 3 (November 22, 2022): 65–67. http://dx.doi.org/10.54097/hiaad.v1i3.2962.
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There is a complex relationship between fashion and dress to identity. It's worth noting that given twining, cloths can be a portrayal of one's identity because they tell people something about class, gender, status, and so on. Also, the author asserts that cloths can lead to misinterpretation because they are not able to speak (Entwistle, 2000: 112). It is because of this argument that copious theories have emerged in an attempt to explain the relations. Entwistle, in her book, highlights the centrality of dressing to people's identities, gender, and sexuality (2000, p.40). These sentiments are also held by Stroope, Walker, and Franzen (2017, 85), who posit that the portrayal of identity has led to theories such as feminism. Therefore, feminism has existed in all aspects of life since it came into being in early 1910. These concepts are also used in various ways in the fashion industry making it significant in contemporary times. Feminist theory mainly accentuates the analysis of gender inequality. Therefore, it aims to gain a deeper understanding of the nature of gender. In her book, Butler believes that gender is used sometimes as a way to secure heterosexuality (2006, 5). Therefore, according to Griffin (2015, p.196), feminism wanted to transform the entire realms of the lives of women: social, political, cultural, personal, and economical. Consequently, Zinn and Dill (2016, 76) assert that feminists meant to remove all psychological and structural obstacles to the financial independence of women. The reason is that most of them believed that gender was produced and considered though sexual hierarchy as outline by (Butler, 2006, 5). Some of the themes explored in these theories entail objectification, contemporary discrimination, and art history. Indeed, feminists combined lots of reasons that became related to a New Woman. Some crusaded for woman voice, others fought for labor and socialism, whereas others still called for birth control and ‘free love.’ As a result, Butler (2006, 7), in her book, she continues to point out that feminist views attempt to eliminate and overthrow gender, because it is a typical signal of women. The feminism resurgence in the recent past has been integral in the evolution of the modern fashion industry. It is a relief that females are no longer anticipated to fit into a particular mold for them to be perceived as beautiful. The stereotypical thinking, as well as the labeling of females as sexual objects, often have negatively impacted how several women dress Entwistle (2000, p.40). As denoted by Fraser (2017, 167), this is something that most women seem to be reluctant to dress because of the fear that they might be perceived as sexually provocative. Seabrook, Ward, and Giaccardi (2019, 556) also echoed this sentiment but went further to posit that fortunately for feminists, especially those in the fashion industry, feminism has led to the promotion of females as sexual beings rather than sexual objects. Many people are happy that the industry is catching up, though centuries later.
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Al-Rahbi, Ahmed Mohammed. "Modern Arabic Literature. “The Breaker” Edwar Al-Kharrat." Asia and Africa Today, no. 8 (2022): 78. http://dx.doi.org/10.31857/s032150750021327-1.
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The article is devoted to the developing of modernism in Arabic prose and the art of one of the most prominent figures of this trend - Edwar al-Kharrat (1926-2015). The end of the dominance of the classical novel exactly in the first half of the 20th century and the turn of the generation of the 60s to new artistic techniques is directly associated with the historical events of 1967 (Six-Day War). It is noted that one of the consequences of these events for literature was the change of discourse - from revival (an-Nahda) to defeat (an-Naksa). The artistic method of Edwar al-Kharrat is characterized in detail on the examples of his early story “Station” and the novel “Rama and the Dragon”, which was included in the top ten Arabic-language novels of all time by the Union of Arab Writers. The authors distinguish thematic blocks in the works of al-Kharrat: the eternal themes of love, life and suffering, which are passed through Hellenistic and Middle Eastern mythologies and Christian philosophy. Such techniques of al-Kharrat as playing with the chronotope, narration through the subjective perception, attention to sensations, replacing the plot with a description, using dichotomy - the opposition of male and female, Christianity and Islam etc. are highlighted. Also the authors stress the significance of al-Kharrat's theoretical works on literature, where the artistic method, defined by him as a “new sensibility” and opposed by critics to what was called “al-Mahfuzia”, is comprehended. The question is raised about the role of al-Kharrat in the history of the latest literature of the Arab countries, while the authors try to remove the contradiction that is seen in the inimitability of al-Kharrat and his simultaneous fundamental influence on subsequent generations of prose writers.
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Aristova, Ekaterina P. "TO DEFINE SOVIET EXISTENCE: SOVIET, RUSSIAN AND WORLD RESEARCHES OF THE SECOND HALF OF THE XX CENTURY AND THE BEGINNING OF THE XXI CENTURY." Yaroslavl Pedagogical Bulletin 116, no. 5 (2020): 184–92. http://dx.doi.org/10.20323/1813-145x-2020-5-116-184-192.
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Thе article explores works about soviet life by soviet, russian, european and american researchers, written in the second half of the 20th century and at the beginning of the 21st century. The understanding of soviet life by european and american authors was determined by studying the nature of totalitarianism. The authors analyzed the features of classical european metaphysics that determined the formation of ideologies (the concept of the ideal state of Plato, the concept of rational laws of historical development of K. Marx), the psychology of the «man of the masses», the influence of propaganda and alternative ways of controlling the masses, the importance of the image of a Superpowerful Empire for modern Russia. The key authors are K. Popper, H. Arendt, Z. Brzezinski and K. Friedrich, J. Nye, W. Laqueur. Soviet authors analyzed the themes of protecting humanistic values and civil rights and freedoms, transforming culture under state control and formation of the aesthetics of totalitarian art, the existence of an individual in collectivist environment, the formation and destruction of the special communication environment of the soviet world: a system of signs and myths. The most interesting authors are G. S. Pomerants, I. N. Golomstock, B. E. Groys, P. Weil and A. Genis, G. L. Smirnova, A. A. Zinoviev, M. K. Mamardashvii, M. P. Kapustina, Yu. A. Levada. Some studies are concentrated on the legacy of the USSR as a kind of lost civilization – the analysis of everyday life, creating dictionaries and encyclopedias of soviet life, the studying of memories and diaries. The works by L. V. Belovinsky, I. B. Orlova, N. B. Lebina, N. N. Kozlova are notable.
Dissertations / Theses on the topic "Modern Art – 20th century – Themes"
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Williams, Court. "Sensitive skin." Thesis, The University of Sydney, 2008. https://hdl.handle.net/2123/28932.
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The work being considered for examination will be my gallery installation Affliction.
Consisting of approximately six hundred digitally printed and hand constructed three
dimensional models, it will be installed on the gallery floor as a part of the Postgraduate
Degree show at Sydney College of the Arts (Tuesday December 9th through to Wednesday
December 17th).
My masters project explores the isolation and dislocation experienced in the urban
environment and situates un-commissioned street art as a construct that potentially
generates modes of plurality through immediate encounter, collaboration and intervention.
My work explores the inter-activity of street art. This is done through a reading of Nicolas
Bourriaud’s Relational Aesthetics - a theory of art that takes as its theoretical horizon
the realm of human inter-actions in social spaces. 1 demonstrate the inter-activity of street
art through a discussion of my work as well as the work of three other street artists.
In doing so, 1 also draw attention to the virtual characteristics of the anonymous urban
environment by locating street art as a virtual representation of the art world, the street
artist as an avatar and the city surface as an online blog.
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Dawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.
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This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.
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McKnight, Justine. "Redefining The Art Experience : From Static To Temporal Art Forms." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.
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This research examines an approach to art making and viewing that questions the acceptance of the autonomous object in favour of a transient experience. It focuses specifically on work and writing from the 1960s by the American artist Robert Morris that attempted to alter the then predominant Formalist understanding of the art object as autonomous and self-referential. This investigation follows the formal and conceptual development of Morris' work (and that of associated artists Richard Serra and Rafael Ferrer) with particular focus on the shift from static objects to time-based and transient an-forms including film/video and installation. I address the influence that the shift from static to temporal forms has had on the experience of art such as opening artwork to deeper levels of metaphysical association and visceral response. This discussion also examines parallel issues that have emerged within my own work's conceptual and formal development. In relation to the investigation of these developments I shall contextualise and locate my recent arts practice.
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Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.
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This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).
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Horton, Mary Therese. "The cultural status of objects." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35867/1/35867_Horton_1996.pdf.
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This paper addresses the cultural status of objects. The
discussion focuses on domestic objects. It is proposed that functional domestic objects are cultural artefacts which have significance beyond that of useful commodity. Their cultural status is explored by considering the nature and influence of the Marxist critique; examining
the 'aesthetic dimension' of useful objects; and by experimenting with a range of written forms which draw upon three sources: i) concepts investigated through the first two chapters; ii) ideas being cultivated through my studio practice; and iii) issues raised through the exploration of a particular site - the Rocklea Flea Markets.
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Wang, Xuning. "Realist painting and its relationship to my creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/122.
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This thesis examines the realist art movement from its origins in France in the 1840s to its development in China in the 20th century and its impact on the author as an artist. The thesis reviews the development of realism in France, and traces its impact on Chinese conceptions of realism in the 20th century. The contemporary debates surrounding realism in China are examined and contextualised within the recent history of realism in China. Finally the thesis looks at the impact of realism on the author’s creative practice and a case is argued for the development of realist ideas in a globalised culture and its value as a cross- cultural visual language.
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Mauchan, Fiona. "The African Biennale : envisioning ‘authentic’ African contemporaneity." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2596.
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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2009.This thesis aims to assess the extent to which the African curated exhibition, Dak’Art: Biennale de l’art africain contemporain , succeeds in subverting hegemonic Western representations of African art as necessarily ‘exotic’ and ‘Other.’ My investigation of the Dak’Art biennale in this thesis is informed and preceded by a study of evolutionist assumptions towards African art and the continuing struggle for command over the African voice. I outline the trajectory of African art from primitive artifact to artwork, highlighting the prejudices that have kept Africans from being valued as equals and unique artists in their own right. I then look at exhibiting techniques employed to move beyond perceptions of the tribal, to subvert the exoticising tendency of the West and remedy the marginalised position of the larger African artistic community.
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Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.
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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.
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Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.
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Webb, Mark. "Inscriptions : marks in the web of space and time." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35877/1/35877_Webb_1996.pdf.
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The theory, criticism and practice of contemporary art are
subject to an increasingly intertextual, interdiscursive
environment. Traditional notions of being and
representation, history and language, space and time are
challenged by structuralist and post-structuralist concepts. Possibilities for the meaningful production of art are developed from these concepts.
Books on the topic "Modern Art – 20th century – Themes"
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GillWood, Perry, and Wood Paul, eds. Themes in contemporary art. New Haven: Yale University Press, 2004.
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Craig, McDaniel, ed. Themes of contemporary art: Visual art after 1980. 2nd ed. New York: Oxford University Press, 2010.
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Liz, Dawtrey, and Open University, eds. Investigating modern art. [New Haven]: Yale University Press in association with the Open University,, the Arts Council of England, and the Tate Gallery, 1996.
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Craig, McDaniel, ed. Themes of contemporary art: Visual art after 1980. New York: Oxford University Press, 2012.
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Piero, W. S. Di. Out of Eden: Essays on modern art. Berkeley: University of California Press, 1991.
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Andrews, Julia Frances. A century in crisis: Modernity and tradition in the art of twentieth-century China. New York: Guggenheim Museum, 1998.
Find full textBook chapters on the topic "Modern Art – 20th century – Themes"
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Dachs, Joshua. "Prevailing Themes in 20th-Century Theatre Architecture." In Modern Theatres 1950–2020, 27–34. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-6.
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Birbragher-Rozencwaig, Francine. "Modern Latin American Art." In Essays on 20th Century Latin American Art, 1–34. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-1.
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Méndez Baiges, Maite. "“We are all Demoiselles d’Avignon” or the Breaching of the Dominant Gaze." In Les Demoiselles d'Avignon and Modernism, 67–101. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-656-8.07.
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In his thesis on Les Demoiselles d'Avignon, Steinberg postulated the fundamental role of the spectator (object of the appealing gazes of the five young nudes in the painting) as the catalyst of the meanings in the painting. From then on new critical perspectives would speculate about this subject, targeted by the personages in the painting, who bears so much responsibility in articulating the interpretation of the scene. Doubts were raised about the universal character of the gaze, the universal character of the receptor of the work of art and of Modern Art. From the end of the 20th century and activated by the most recent methodological approaches such as feminism and post-colonialism, new critical voices provoked the breaching of the dominating gaze. This chapter broaches the interpretations of this paradigmatic work of Modern Art made by feminist and post-colonial and subaltern theories, questioning the very proposals of Modernism. Feminism shows how gender conditioning affects the reception of a work of art. And allied with this, post-colonialism and subaltern theory begin to seriously question the way historiography has considered, or not, the relevance of Art négre in the avant-guard eclosion.
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Andres, Dörte. "‘The times they are a-changin’." In Introducing New Hypertexts on Interpreting (Studies), 196–213. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/btl.160.10and.
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Today’s interpreter training methods have largely been developed towards the end of the 20th century, and we must ask ourselves whether they still meet the requirements of today’s markets and how we can constantly adapt our training to meet new challenges and circumstances. To this end, the intensive linkage of research, training and practice is of fundamental importance in order to guarantee the type of professional training which enables students to learn the specific competencies required for professional practice. This paper first discusses competencies in general before turning to interpreting competencies in particular. It then focusses on one example, the competency of preparation, which might become ever more important in the future and thus warrants more attention in interpreter training. The scientific starting point is the general competency model of Kouwenhoven (2009). It serves as the basis for the Interpreting Studies view of preparation competency which will be examined from the perspective of situational intelligence (Jonnaert et al. 2007: 196). Although preparation is a topic of discussion in Interpreting Studies publications, it is argued here that it needs to be more intensively integrated into regular conference interpreter training courses than has been the case in the past. After all, it plays an essential role in situational intelligence, which constitutes an important factor in competency-based interpreter training. Using two special training formats, the “Freitagskonferenz” at the Department of Translation, Language and Cultural Studies in Germersheim, and “SIMinar” at the Center for Translation Studies in Vienna, which was introduced there by Franz Pöchhacker, it will be shown how useful these special training formats are in terms of improving this important competency and how significant they are in promoting situational intelligence and thereby facilitating the shift from routine expertise to adaptive expertise, which in our changing times has become more necessary than ever before.
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Bičevskis, Raivis. "Skaitlis kultūrkritikas perspektīvā: valoda – sabiedrība – pasaule." In Izmērītais laiks un telpa, 25–35. LU Akadēmiskais apgāds, 2022. http://dx.doi.org/10.22364/ilt.22.03.
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At the turn of the 19th and 20th centuries, the optimistic expectations of modern science and the Enlightenment that the mind can know the world and its laws, and construct a new model of a perfect society, are radically questioned. As a result of these dreams, a human becomes rather alienated from the world and faces the increasingly complex and deeper socio-political problems of modern society. Many authors approaching the prophets of the 19th century cultural crisis (Romanticism, Bahofen, Nietzsche, etc.), and cultural criticism (Kulturkritik) emerged in the early 20th century, creating a special genre and style of analysing the general cultural situation. Not all of them will call themselves cultural critics. However, in their works one can find persistent themes and common approaches that form the discourse of cultural criticism in the first half of the 20th century. Several thinkers, writers and publicists of this time address the decline of cultural themes from different perspectives, where the important topics of cultural criticism are calculation, computation, and the focus of modern sciences on numbers.
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Regina Baggio Osinski, Dulce, and Ricardo Carneiro Antonio. "Children’s Art Exhibitions in Brazil: A Modern Badge for the New Man." In Pedagogy - Challenges, Recent Advances, New Perspectives, and Applications [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.99161.
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In this article we analyze, within the context of the decades between 1940 and 1960, children’s art exhibits as a strategy for asserting the importance of Art in educating and developing a child’s personality, using newspaper articles, pictures, children’s drawings, reports and other institutional documents as sources. The artistic vanguards of the early 20th century, advocates of the artist’s self expression, and the acknowledgement – by Psychology and Pedagogy – of the specificities of being a child have resulted both in the defense of the child’s freedom of artistic expression, and in a renewal of Art and education concepts of that period of time. As of the mid ‘40s, children’s art caught UNESCO’s attention because it represented potential integration and fraternity among people and the desire to build a new Man. Such exhibits acted as showcases for several ideas and justified the importance of children’s art involving, in the Brazilian context, from governmental agencies to national newspapers and private companies. Aiming at inculcating an educational conduct based on assumptions such as the unrestricted freedom of children’s creative spirit they had, as a contradiction, the censorship of themes considered unsuitable such as violence, and the need to follow a pre-defined esthetic standard.
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Markova, Ekaterina A. "Notes from Underground by F.M. Dostoevsky as a Relevant Text in the English and Irish Literature of the 20th Century." In “Notes from Underground” by F.M. Dostoevsky in the Culture of Europe and America, 436–61. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0668-0-436-461.
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The influence of F.M. Dostoevsky’s Notes from Underground on the English and Irish literature of the XXth century has been mainly connected with existentialism. The interaction of ‘self ’ and ‘the other’, the unique character of one’s being, inability to find the truth objectively — all these themes of Dostoevsky’s novella are relevant for D.H. Lawrence, G. Orwell, J. Fowles, I. Murdoch, S. Beckett and other modern writers. The article shows how particular literary texts of these authors react to Dostoevsky’s novella. Original interpretations of this writing are associated with certain genres and movements (dystopia for Orwell, confessional novel for Fowles and Murdoch, absurdist fiction for Beckett), as well as individual styles of certain authors (Lawrence).
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Mayo, Sherry. "A Model for a Collective Aesthetic Consciousness." In Advances in Media, Entertainment, and the Arts, 159–72. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8679-3.ch013.
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During the 20th century, the modern media was born and viewed as an industrial factory-model machine. These powerful media such as film, radio, and television transmitted culture to the passive masses (Enzensberger; 1974). These art forms were divorced of ritual and authenticity and were reproduced to reinforce their prowess (Benjamin, 1936). In the 21st century post-media condition, a process of convergence and evolution toward a social consciousness, facilitated by a many-to-many social network strategy, is underway. Web 2.0 technologies are a catalyst toward an emergence of a collectivist aesthetic consciousness. As the prophecy of a post-industrial society (Bell, 1973) becomes fulfilled, a post-media society emerges whose quest is for knowledge dependent upon economy that barters information. This paper identifies a conceptual model of this recent paradigmatic shift and to identify some of the possibilities that are emerging.
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Korovin, Andrey V. "The History of Icelandic Literature as a Subject of Art Work." In “The History of Literature”: Non-scientific sources of a scientific genre, 294–317. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-294-317.
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The article deals with the problem of acceptance of the national literature as an important and unique phenomenon by Icelanders in the beginning of 20th century, but in our days it is a major part of the Icelandic national self-conscience. The development of Icelandic nation is strictly connected to the literary tradition started in Middle Ages; there was a paradox situation, when the modern Icelandic society did not have any serious interest to the national heritage and the Old Norse books. The most prominent Icelandic philologist Sigurður Nordal made the influentional changes in the social perception of the literary tradition. He was an author of several volumes on Icelandic literature, the most important of them is “Icelandic Culture”. His main goal was to show Icelandic literature as a significant and outstanding part of European culture, to connect the Old Norse tradition with the modernity: he brought to academic texts the elements of fiction. The world-wide known Icelandic writer Halldór Laxness had the same aims in his novels “World Light” and “Iceland’s Bell”. The Icelandic literature in these texts is presented in its development, in the past and present, and became the subject of narration.
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Getzen, Thomas E. "Introduction." In Money and Medicine, C1—C1.T1. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197573266.003.0001.
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Abstract Physicians have been getting paid for thousands of years, yet commercial practices are rarely mentioned in works of medical history. Major themes of the study are outlined in the first chapter, suggesting why a long-term international perspective is required. Demographic transition, the industrial revolution, and scientific advances brought wealth, longevity, and faith in technological progress. Advances in clinical therapeutics, accompanied by the development of national political, professional, and financial institutions, led to a modern 20th-century transformation of medicine. Chapters 2 through 12, briefly introduced here, present data and narrative to support a budgetary perspective on the evolution of national health expenditures.
Conference papers on the topic "Modern Art – 20th century – Themes"
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Miguel Ginja, Luis. "[de]Territorialization, the Role of our Brain in a Technological World." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001375.
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Since the turn of the 20th century, the act of design has gone through an exercise of problem-solving. It happened in the field of the city, architecture, or objects. Much of this discourse is present in the modernist manifestos. These goals are primarily related to Russian constructivism, in which many modern personalities were engaged. This problem-solving process, oriented toward an economic practice that articulated the available means to the proposed ends, was so necessary to the revolutionary spirit of the time. However, they answered the questions that the post-Russia zeitgeist of the Revolution intended to answer. The articulation of their intended function, coupled with the emergence of their utility, entrusted them with a good and abstract character in the city.However, in its genesis, the project contains much more than that. It cannot be merely the functional resolution of a problem. It must have the instability of that problem in its course, which becomes changeable in the search for the solution. As a result, the merely utilitarian character thus loses its initial grip. As Roger Scruton argues, the definition of a project methodology is complex if a method is indeed the correct word to use in the process. The method, that is, a path composed of specific tools to achieve a purpose, seems to us little convergent with the themes that should flow. To start from this assumption is to invalidate what we previously described as a fundamental part of the process of memory, which should have a high place in the project process. The design process is, in essence, the transit between the identification of a problem until it resolves (one, among many possible ones). To which we allude, it does not refer only to the project in Architecture but to a whole system that involves not only objects but also cities, in what we can understand as relationships with the body. More than a mere technical process, it involves an empirical component based on experience, which we define as physical and intellectual. The act of design, or project, must contain in its origin the state of emptiness, without preconceptions, that gag it. This state, which we wish to bring into discussion, is nothing more than the full potential of the task we want to accomplish.
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Sherstinova, Tatiana, Anna Moskvina, Margarita Kirina, Asya Karysheva, and Evgenia Kolpashchikova. "Topic modeling of the Russian short stories of 1900–1930s: the most frequent topics and their dynamics." In Dialogue. RSUH, 2022. http://dx.doi.org/10.28995/2075-7182-2022-21-512-526.
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The article describes the results of an experiment on topic modeling of Russian short stories for three successive historical periods of the early 20th century: 1) the beginning of the 20th century until 1913, 2) the warrevolutionary period (1914–1922), and 3) the early Soviet period (1923-1930). Using the Latent Dirichlet Allocation (LDA) algorithm, 9 models were built — 3 samples of different sizes (100, 500, and 1000 stories) for each of the periods. It turned out that in every model there are very frequent “themes” (topics) that characterize with a high probability a fairly significant share of texts in each sample. Moreover, one can also observe a meaningful dynamics of these frequent topics over different time periods, which allows us to consider them as thematic and stylistic markers of the analyzed text collections along with the more traditional quantitative measures of text analysis. The variety of frequent topics turned out to be higher in the second and third periods, which can be explained by the greater lexical and stylistic diversity of the prose of the “era of change”.
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Zabelina, Daria. "THE REVIVAL OF THE PHILIPPINE NATIONAL THEATER — KOMEDYA." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.39.
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Komedya, or moro-moro, is a genre of the Philippine national theater that was flourishing from the second half of the 17th century until the second half of the 19th century. The genre formation was a part of catholic missioners propaganda activities. In time, komedya became the most popular dramatic genre in colonial Philippines. The common features of komedya are: 1) the central theme of komedya is fight between Christians and Muslims, where Christians always win; 2) actions described in komedya never take place in the Philippines, but in an exotic country, for instance in Turkey or in Armenia; 3) Spanish missioners played an important role in the formation of the genre; 4) komedya is the national theater; 5) komedya is a secular genre as adventures dominate over the religious motives. In the middle of the 19th century komedya was criticized by the most progressive Filipinos for being extravagant, lacking logic and not touching upon current Philippine problems. By the beginning of the 20th century komedya was not staged anymore almost everywhere in the Philippines. Its place was taken by the other genres. A number of actions to bring komedya back to its former popularity have been undertaken from the 1970s with the great support of the cultural center of the Philippines and University of the Philippines. It is important to mention that the genre is being changed in order to correspond the needs of the modern Philippine society. For example, the Muslim conflict is not the main topic of the modern Philippine national play as it contradicts the national policy of the Philippines.
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Barros, Carina Espina de Jordão, Joaquim Manuel Silva, and Ana Cristina Broega. "Circular Business Models and Textile Waste: Riopele Case Study in Portugal." In 20th AUTEX World Textile Conference - Unfolding the future. Switzerland: Trans Tech Publications Ltd, 2022. http://dx.doi.org/10.4028/p-q9qlu7.
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The circular economy has been an emerging theme in the strategic decisions of different industrial sectors as an alternative to reducing the negative impact generated by the linear economy that extracts, transforms, uses, and discards our planet's resources without a second chance for reuse. In this way, most industrial sectors are looking for new business models based on circularity that can reduce the effects generated by the residues of their production processes and that can cause serious damage in the environmental, social, cultural, and economic. In the textile sector, issues related to waste management become even more evident, due to the relevance of this segment in the world economy and the extension of its production chain. In this context, the main objective of the article is to assess the potential and challenges of the Portuguese textile industry in the implementation of business models based on the circular economy for the reuse of textile waste. In the first phase, the work was carried out through systematic research of literature review in current indexed studies to investigate the theme of circular business models. In the second moment, qualitative research was carried out based on a case study in the textile industry RioPele in Portugal. Data collection took place through semi-structured interviews, in loco, in January 2020 with the managers responsible for the company's sustainability department. The results indicate as potential the fact that the company already integrates sustainability into its corporate values, applies circularity in the development of new products, is supported by class institutions, research centers and universities and recognizes this collaboration as a decisive factor for the success of its business model focused on waste reuse. However, it points out as a difficulty the still high costs for the transition to the circular economy and the need for more effective communication actions to share the principles of circularity and generate greater awareness in its customers and other stakeholders. The results of the investigation can help other industries in the textile segment to realize the advantages of reusing their waste for a more circular textile economy with strong brands that can generate positive impacts on society.
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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.
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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Ceravolo, R. "Condition Assessment, Monitoring and Preservation of Some Iconic Concrete Structures of the 20th Century." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0054.
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<p>Great architects and structural engineers such as Berg (1870-1947), Maillart (1872-1940), Freyssinet (1879- 1962), Torroja (1899 -1961), Nervi (1891-1979), Candela (1910-1997), Isler (1926-2009) and many others have designed recognized works of art in their discipline. They conceived extraordinary concrete spatial structures, that are located mostly in Europe and represent a unique legacy. It is important to raise awareness of this heritage, define the criteria for preserving it and begin the process of its renovation and rehabilitation.</p> <p>While concrete has become a 20th century emblem, much of the world’s heritage from this period is unrecognized or undervalued, and therefore it is at risk and in need of analysis and protection. Innovative technologies and solutions are needed that contribute to the successful reuse of modern concrete built heritage. Indeed, such structures are plagued by significant deterioration and most of them are in urgent need of retrofitting and/or radical refurbishment. In other words, there is a need to bring some of these buildings back to life, while respecting the spirit of their original characters, through new technologies for long-term conservation that can maintain an adequate level of structural performance. Achieving this goal would produce substantial economic impacts through activities such as restoration, maintenance, and cultural industry.</p> <p>The keynote lecture, more specifically, focuses on the condition assessment, monitoring and preservation of 20th century architectural heritage characterized by a complex spatial structural design. The service life of civil and cultural heritage concrete spatial structures is typically thought to range from 10 to 200 years, but in practice the service environment plays a pivotal role in sustained durability. Indeed, the collapse of Polcevera Viaduct in Genoa has raised strong concerns on the durability of concrete structures conceived at that time. The scientific community has once again underlined the important role played by maintenance and continuous structural health monitoring in avoiding these disastrous events. In order to demonstrate a correct approach to condition monitoring of concrete spatial buildings and bridges, some important experiences are described that were recently obtained at the Polytechnic of Turin on the structural analysis, seismic vulnerability and condition assessment for iconic 20th century heritage buildings.</p>
Reports on the topic "Modern Art – 20th century – Themes"
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TITOVA, E. HISTORIOGRAPHIC REVIEW ON THE TOPIC OF THE STUDY OF MIGRATION PROCESSES IN THE RUSSIAN FAR EAST AT THE BEGINNING OF THE XXI CENTURY. Science and Innovation Center Publishing House, 2021. http://dx.doi.org/10.12731/2077-1770-2021-13-4-2-34-53.
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The article provides an overview of scientific research on the study of migration processes in the Far Eastern regions. The problems of migration, the state mechanism for regulating migration issues, and the peculiarities of interethnic interactions are very topical topics not only at the regional, but also at the national level. In the Russian Federation, studies on these topics have appeared relatively recently. Due to the fact that at the end of the 20th century there was a surge in the ethnic self-awareness of the peoples of the country, together with the intensification of socio-economic transformation processes, there are sharp, often radical, changes in the field of interethnic interactions, in particular, the growth of armed interethnic conflicts, an increase in migration outflows or inflows. etc. Modern scientific research in the field of migration processes is practice-oriented, that is, they are aimed at the implementation of narrow applied problems, there is also an increase in the accumulation of an updated extensive theoretical and methodological base. In particular, studies, for example, concerning the topic of interethnic interactions, are directly related to the topic of ethnic tolerance, which has also become very popular and in demand in the last decade for specialists from various scientific fields - psychologists, ethnographers, lawyers, etc.